Eric King's Web Site

Here are the corrections to all the editions of A
Collector's Guide to Psychedelic Rock Concert Posters, Postcards
and Handbills 1965-1973 by Eric King. Many of these
corrections only apply to earlier editions and have been corrected
in more recent editions, but some have been added recently. Anyone
using any edition of my Guide should look here for the latest
updates before taking action based on the information in the
Guide. This is not an extremely changeable scholarship, but new
information emerges fairly often, and now that I am managing this
site myself, I will attempt to see to it that the collectors and
dealers who use my Guide have information which is as up to date
as possible.

Last updated February 21, 2015

All corrections are on this page; click the appropriate link below
for quick access to individual sections.

It has been brought to my attention that there are collectors who
are interested in the publication history of this Guide. The
following should enable them to determine what edition(s) they
have and when they were published.

The First Edition A was published in 1980 by Vogue Press in an
edition of 100 copies. It is 121 pages long.

Between 1984 and 1993 the Guide was published in about four
separate editions B, C, D, and E.
These are 149 pages long and vary only slightly. These editions
were 150 copies each.

The Second Edition was published in 1996. “c 1996 SVAHA
PRESS” appears at the bottom of the third page. It is 457 pages
long. This is the first illustrated edition. This edition was 150
copies.

The Third Edition was published in 1999. It is 642 pages long.
This edition was 150 copies.

The Fourth Edition was published in 2001. It is 646 pages long.
This edition was 150 copies.

The Fifth Edition was published in 2003. It is 655 pages long.
This edition was 150 copies.

The Sixth Edition was published in 2004. A small “6” appears in
the lower right corner of the front page cover. It is 664 pages
long. This edition was 150 copies.

The Seventh Edition was published in 2006. A small “7” appears in
the lower right corner of the front page cover. It is 681 pages
long. This edition was 150 copies.

The Eighth Edition was published in 2008. A small “8” appears in
the lower right corner of the front page cover. It is 698 pages
long. This edition was 150 copies.

The Ninth Edition was published in 2009. A small “9” appears in
the lower right corner of the front page cover. It is 797 pages
long. This edition was 150 copies.

At the PMA show in October 2000 Mark Powers pointed out to me
that his name was nowhere to be found on this list of
acknowledgements. This is a major oversight for which I humbly
apologize. Mark’s contribution to this scholarship is
substantial.

Another major step forward in identifying the
various printings of these posters was taken when Jacaeber
Kastor suggested that we examine paper stocks on poster backs
under black light. In some cases the differences are dramatic.
This tool has been successful in distinguishing some of the most
difficult and problematic originals from their reprints. I now
believe that anyone who is serious about the study of these
posters should purchase a black light. They are available in
most hardware stores at inexpensive prices.

Under PLAGUES add:
As if this is not enough to keep poster collectors confused, yet
another problem deserves mention. Many of the paper stocks on which
these posters were printed have two noticeably different sides, and
due to the fact that the printers mistakenly did not think of these
posters as great art for the ages, they occasionally managed to run
a few sheets through the press so that they were printed on the
wrong side. Although most collectors will go through a lifetime of
collecting without encountering such an error, it is worth noting
that these exist. I have generally not listed such variants when I
know of only one or two copies, but when more than that are known to
exist and the likelihood of being confronted with one is
substantially increased, the variant will be enumerated and
described under a specific number.

Before the Family Dog section add:

Response to Phil Cushway

In July of 2001 Mr. Phil Cushway, owner of Artrock, made a number
of complaints about this guide as part of a brief essay posted on
eBay along
with eBay item 1446507650, a copy of

FD-66-RP-2. In order to do justice to Mr. Cushway's criticisms I
will quote them in their entirety exactly as they appeared:

"In general I hesitate getting at all involved in the designation
of what is, or is not a first printing. In many cases it is
possible to distinguish with relative certainty, that there were
two printings and what contra-distinguishes them apart. In many
cases, however, this is not possible. The primary text used for
this purpose, Eric King's "collector's guide" changes over the
years with some posters that are "only printed once" in one
edition, now has different printings; posters thought to be second
printings are now considered to be the reverse; posters with
several printings before are now considered to be part of a
single-edition; newly discovered. The recent (within the last
year) discovery of "small dots" or "small lines" is now thought to
separate "printings". I try to rest my reasoning on the following
premises: 1) That I was not present at the printer at the actual
time of printing and therefore can never say for certain without a
lot of proof that these were in fact multiple printings and how to
tell the difference. 2) That professional printers who would do
things in the most reasonable and simplistic manner primarily
printed these posters. 3) That in general, what was the most
likeliest, and simplistic explanation is what probably happened.
4) We should not try to read something too complicated into what
is a very straightforward process."

Mr. Cushway has raised a number of issues which merit a careful,
well-reasoned response. The most important point that should be
made is that most of the criticisms Mr. Cushway makes relate to
changes between my earliest guide to this material, the first
edition, which I wrote in 1978 and 1979, and the expanded,
illustrated third edition which I wrote in 1995. In the earliest
edition I disregarded the subtle differences between many of the
printings of Family Dog posters from FD-43 to FD-86. In 1978 I
felt that since the Family Dog had chosen to designate each of
these printings as "-1" even though some had been printed weeks
and even months after the concerts, I should accept the decision
of the copyright holder to make such a designation. It is
important to note that at that time these specific Family Dog
posters sold for a maximum of $5.00 each, and, like almost
everyone else, I never anticipated that they would have the values
they currently do.

The main reason that I wrote the original guide is that reprints
of early Bill Graham posters were being sold by people claiming
they were originals. Here there was a genuine difference in value.
And original BG-8 might have been worth $20 while a reprint was
worth only $3.00, and
there was every reason to believe early originals would continue
to increase in value if collectors felt confident about what they
were buying. No such problem existed with Family Dog posters from
No. 1 to No. 41 because these were almost all clearly marked. In
1978 although I was aware of the problem with the undesignated
reprinting of Family Dog posters from No. 43 to No. 86, I chose to
ignore it. I have apologized for this poor scholarship repeatedly,
and I do so again here. My earlier guide was inadequate in this
regard, and I have regularly given buyers of that guide a
substantial discount on the purchase of the newer ones, but it is
important to repeat that quite a few of these distinctions were
not only very subtle and difficult to describe, they were also on
items which had what was essentially the same value, $5.00 in mint
condition. The notion of devoting an additional several hundred
hours to the writing of the 1978 guide in order to distinguish
this material under these circumstances seemed excessive to say
the least. Almost all the changes Mr. Cushway refers to fall into
this specific area where the 1978 guide listed Family Dog posters
from No. 43 to No. 86 as printed once when in fact there were
multiple printings which I listed correctly in 1995.

Today this material is tens and often hundreds of times more
valuable, collected by multitudes all around the world, recognized
by major art historians as the most important graphic art in the
20th Century and bought mainly as decor. It is hard for people to
understand that in the late
1970s this material was collected only by a few dozen serious
collectors and at most a few hundred casual ones almost all of
whom lived in the San Francisco Bay area. These were collectors
seeking complete sets to put into albums. They were interested in
what mainstream Americans in general and the San Francisco art
establishment in particular viewed as "the drug crazed ravings of
filthy, sex obsessed hippies." (This is a direct quote made to me
in the early 1970’s by a high ranking official of the San
Francisco Museum of Modern Art whom I shall not embarrass by
naming.) By 1990 it became clear that a new edition of the guide
was necessary, one which reflected the fact that there were clear
distinctions between the various printings of most of the Family
Dog posters between No. 43 and No. 86 as well as several Bill
Graham posters not noted in my earlier guide. Unfortunately I was
unable to work on this revision until 1995. By this time the
enormous jump in values necessitated a very precise, thorough and
professional guide which I believe I have made available since
1996.

As for more specific criticisms I note the following: there are
only two cases where posters designated originals and posters
designated reprints have been reversed. One is the "Batman," BG-2,
about which I have written a lengthy essay concerning what is
almost certainly the worst
scholarly mistake made not only by me but agreed upon by all the
early collectors of this material. The other is FD-44 which was
the result of an error by my typist which I failed to catch in the
proofreading process to the expanded and illustrated 1996 edition
which was the first edition entered into a computer. The failure
to catch this reversal was entirely my fault, but it does not
represent an error in scholarship. I knew all along which was the
correct original. It was properly identified in my handwritten
manuscript which I gave to my typist.

The case of the poster which previously had been listed with
multiple printings which I changed to one printing in 2000 is
FD-68. It seems unfair to me for Mr. Cushway to complain about
this since he is the one who pointed out that the evidence of
multiple printings was incorrect. He
presented conclusive proof that the guide was incorrect, and I
changed it to reflect the new data. I note that although there is
not a lot of similar information which will alter the guide
substantially that is likely to emerge following the decade from
1990 to 2000 during which a great deal of the research was done
both by myself and by Jacaeber Kastor of Psychedelic Solution,
this continues to be a fluid scholarship. Some new material or
evidence is discovered almost monthly, and it would be
irresponsible for me not to share this with those who use my
guide. That is why I maintain my web site, so collectors can
access the latest information as it becomes available. While it is
not possible for me or anyone else to guarantee absolutely that
this or that item will not change, the level of precision now has
reached the point where it is extremely unlikely there will be
many such changes. Perhaps the best demonstration of this is that
there are only about half a dozen serious differences between my
guide
and Mr. Kastor's catalogue which is the result of research almost
completely independent from my own. We share our results, but we
work separately. If we have arrived at this many identical
conclusions, it seems reasonable for the collecting public to rely
on the notion that there are
not many mistakes in our two works on this topic.

Another related topic which ought to be addressed is the claim by
some parties that Mr. Kastor and I differ greatly on many items.
This is just not so and is very possibly the work of people who
wish to discredit both of us so they can sell reprints which they
claim are originals. The main
differences between Mr. Kastor's catalogue and my guide involve
either style or areas of interest. The styles are very different
because his is a catalogue of items or sale. He runs a business,
and quite reasonably he wishes to sell his wares. Information he
gives about printing variations is
only one part of what he seeks to present to his customers. In my
guide it is the main information that I wish to present to my
readers. Carefully read these two documents rarely state anything
mutually exclusive. As for different areas of interest, I seem to
have a fascination with things like the fact that a number of
early Bill Graham cards which were printed three cards vertically
alongside one poster have differences among the three cards, top,
middle and bottom (This is other than split fountain differences
such as BG-53.). I have laboriously outlined these differences
which really would have no utility in a catalogue of items for
sale. Mr. Kastor chooses to lump them together. He is well aware
of these differences, does not dispute them and even pointed one
of them out to me. He seems to have an interest in subtle
differences in paper stocks, especially in differences between
stocks from the same printing which when viewed obliquely on the
reverse under good lighting have either a random texture or a
texture which he describes as "rows." My attitude is that since
these are from the same printing, I would prefer to lump them
together. I am fully aware of these distinctions and do not
dispute their existence.

The last of Mr. Cushway's objections that I wish to address is
based on his apparent belief that I use small dots or lines as
proof of the existence of different printings because I use them
as traits distinguishing printings. Actually in these cases I
usually have already proved to my own
satisfaction that there are different printings, and I am merely
looking for the clearest and simplest distinctions between them
which can be verbally described. These are often small dots or
lines which appear on all copies of one printing and no copies of
another. So that collectors can understand how this process works,
the following is a description of the evidence on two different
posters, BG- 205 and FD-49, and how they came to be described as
having two printings when previously only one had been listed. I
will also cite one case, FD-75, where as yet no such evidence
exists but which I list as having two printings anyway, and I will
say something about why I do so.

For a number of years beginning in the mid-1980s I had suspected
there might be two printings of BG-205. The reason for this was
that I had noticed there were two variants which were reliably
separable by color. Although the differences were subtle, they
were consistent, and I saw no transitional copies, copies partway
between the two in color which would indicate one run during which
the ink was changed, a common occurrence with early Bill Graham
posters. Furthermore the cards seemed to match one variant of the
poster, but the cards were not printed on the same sheets at this
stage of psychedelic history. While interesting, this was not
adequate evidence to warrant my changing the guide to indicate two
printings, especially since it was not one of the six unmarked
1975 reprints and no copies of BG-205 bore the script "W" which at
the time was thought to mark all post 1975 Bill Graham reprints (I
note in passing that after BGP reprinted the six posters Nos. 170,
188, 210, 211, 214 and 216 in 1975, I wrote a letter to Bill
Graham very politely suggesting his attorneys check California law
regarding reprinting of
posters. I mentioned that the law prohibited selling reprinted
posters without designating them as reprints. I never received a
response, but afterwards the reprints bore this script "W."). I
simply waited to see if further evidence would appear.

In 2000 Michael Bradford, a part-time poster dealer in North
Carolina who knew I was interested in this image e-mailed me that
he had acquired a very interesting item, a proof sheet of two
posters, a BG-205 with no script "W" and a BG-140 with a script
"W." It was on glossy, coated stock similar to that used for Bill
Graham originals from No. 150 to No. 286. This was clear evidence
of a BG-205 reprint, and I asked him to send it to me so I could
study it. When it arrived, I pulled out six copies of BG-205 I had
saved, three from one group, three from the other. The proof sheet
clearly matched one group, so that group was definitely the
reprint, but although the colors of the two groups were different,
the differences were
very subtle, and it was not possible to describe these differences
verbally. Furthermore since few collectors nowadays were likely to
have copies of both variants, it would not have been possible (as
it was in the 1970s when there were few collectors most of whom
had most known variants)
to say "hold your two copies side-by-side and look for the one
with the darker magenta..." I had to find some mark that appeared
on all of one edition and none of the other.

I noticed that on three copies there was a small black line on
the right edge of the poster midway between the top and bottom.
Having seen this sort of mark on posters on several previous
occasions, I recognized this as a remnant of a printer’s
bull's-eye which had been placed too close to the image and could
not have been completely removed in trimming without creating an
unattractively narrow border (A printer’s bull's-eye is a circle
with two crosshairs through it, one vertical, one horizontal.
Usually there are four on an uncut sheet, usually center top and
bottom and center left and right sides. They are used to realign
the press exactly between the different runs with the various
plates so that colors are printed in exactly correct registration.
These are usually trimmed off after the printing process is
complete.).

I saw that the BG-205 on the reprint sheet was on the viewer’s
left so the right border of the
BG-205 was in the middle of the sheet between the two images. That
meant there could he no copies of the reprints with the black line
in the right margin because there could not be a printer’s
bull's-eye at the center of the sheet. There would have been no
room for it. It could only be there on the original, and it was
extremely unlikely any originals existed which had been trimmed so
far in as to eliminate this black line entirely because this would
have created a drastically unbalanced poster.

I then changed the guide to include this new information. I note
that the small line was not used as "proof" of two printings, only
as the distinguishing characteristic, and that there was
substantial and convincing evidence beyond the existence of the
small line that there were two
printings. I did not describe the evidence because if I attempted
to give the reader all the evidence on every image, the guide with
the four or five times its current size.

The case of FD-49 is similar but not identical. With Family Dog
items the printing records for the numbers from 43 to 86 exist in
the form of the carbon copies of the billing from California Litho
Plate to the Family Dog. In general these do not show by number
which items were reprinted.
They simply read "reprints 5M," but there are enough such receipts
from week to week that it is obvious almost all of these numbers
were reprinted. Furthermore proof sheets of both originals and
reprints exist in most cases. Original proof sheets are readily
distinguished from
reprints by the presence of cards. An employee of California Litho
Plate has confirmed the long held belief that cards were never
reprinted with Family Dog posters. As with BG- 205 it was clear
that there were two groups of posters, one a range of darker blues
which match the cards and
one a lighter blue which did not. Again I set aside several copies
from each group and awaited further evidence. It was suspected
that the darker was the original and the lighter the reprint, but
this was not certain.

Jacaeber Kastor then did the same thing, stored away a few copies
of each, and one night when he had some time to spare he spread
out on the floor a selection of both groups and spent several
hours looking at them. Eventually he noticed that on all the light
blue copies there was a
small, faint horizontal line in the lower margin. This was clearly
a mark which was on the printing plate, not a mark made, for
example, by piece of dirt which had gotten on the plate during the
printing process, had moved around and eventually had been removed
by the printer during the course of the printing. While this did
not seal the case, it certainly gave credence to the idea that two
different plates printed these two groups of posters. Since it was
extremely unlikely two plates were made to print the original and
there were no light blue cards, he decided this meant there were
two printings and listed them as such in his catalog. As a dealer
he had access to a substantial number of additional copies which
to check, and he also contacted other collectors and dealers to
check their copies. All confirmed his thesis. I agreed with the
results of his research and changed the guide accordingly. That
would have been an adequate end of the story, but several months
later two other things surfaced. One was the original artwork
which did not have the small line, and the other was a printer's
proof sheet of the reprint of FD-49 printed alongside FD-59. On
this sheet FD-49 clearly had the small line. As an astute reader
can see, the existence of this small line is far from the only
proof that there are two printings. It is only one part of a
carefully reasoned argument in favor of there being two printings.
It is the only one mentioned in my guide and in Mr. Kastor's
catalog because it is the easiest means of distinguishing between
the two printings, not because it is the sole proof there are two
printings which it obviously is not.

The case for two printings of FD-75 tends to rest on the evidence
of other images as much is on evidence of FD-75 itself. Here there
are two distinct groups separable by color. Unlike FD-49 where the
two groups were not noticed until after the close of the Avalon
Ballroom, the second
variation was recognized when it appeared in posters shops while
the concert series was still running. The lighter blue was very
noticeable in contrast to the blue of the original. Therefore it
was possible for me to inquire among the early collectors to see
if anyone had seen a lighter copy
around the time of the FD-75 concert. No one had. Since there were
no cards which matched the lighter blue version, it was, like
FD-65, one of the images which very early on led to the suspicion
that the Family Dog was reprinting posters which it did not
designate as such (By the time I became aware of the California
law on this topic, the Family Dog was long out of business.).
Since I was not certain about the reprinting of postcards in 1978,
in my 1979 guide I only mentioned that there were two variants,
and although I had an opinion about which was the first, and that
opinion was widely shared, I did not designate the darker blue as
the original. By 1995 I knew enough about the printing history of
other Family Dog posters from No. 43 to No. 86 to be able to say
confidently that since there were very distinct color groups which
did not overlap and that one and only one matched the cards, the
one which matched the cards was an original and the one which did
not was a reprint.

In the case of Family Dogs Nos. 70, 73, 76, 80 and 83 no separate
groupings are now known to exist, and I tend to think that most of
these will continue to be designated as printed only once, but
future evidence is unpredictable. For the rest of the Family Dog
items from No. 43 to No. 86, I believe that evidence exists for
reprinting of each item except for No. 68 where both posters and
postcards vary substantially indicating one printing with several
ink changes and No. 55 where there are almost certainly two
printings (A proof sheet of FD-55 and FD-57 exists.), but I am
unable to separate them consistently to my own satisfaction. Mr.
Kastor believes he can, and although I recommend that collectors
who want to be certain of having an original buy one of each from
him, I am strongly inclined to believe his designations are
correct. We both have spent
hours and hours looking for a consistent scratch or dot to
separate them but thus far we have been unsuccessful.

I hope the preceding will convince the reader that the
scholarship of my guide which Mr. Cushway has sought to call into
question is, in fact, accurate and trustworthy.

After Family Dog essay add:

The Mystery of the
Family Dog Capitol Records Reprints

I have had in my
possession for a number of years photocopies of two printing
invoices from California Litho Plate Company, one of the
companies which printed Family Dog material. While I have seen
many of the yellow carbon copies of California Litho Plate
invoices, I have not seen these two invoices in that form, only
as photocopies, but I have no reason to believe they are not
photocopies of genuine invoices. One is dated 10/9/1967. The
other is dated

11/21/1967. The earlier
one indicates that 100,000 Family Dog posters, 5,000 each of
twenty different posters, were shipped directly from the printer
to Kama Sutra Productions in Los Angeles. Kama Sutra Productions
was associated with Capitol Records. The later invoice indicates
that another 100,000 Family Dog posters, again 5,000 each of
twenty different posters, were shipped directly from the printer
to Capitol Records in Los Angeles. Several numbers appear on
both invoices indicating that a total of 10,000 of those posters
were printed, presumably at different times. The list on the
10/9/1967 invoice is as follows: 1, 3, 5, 14, 17, 21, 26, 28,
29, 30, 33, 38, 39, 41, 42, 43, 50, 54, 56, 60. The list on the
11/21/1967 invoice is as follows: 17, 26, 28, 38, 49, 50, 53,
59, 61, 64, 70, 72, 75, 77, 82, 83, 84, 85, 86, D-5.

Apparently it was the
intention of Capitol Records to distribute these posters to
record stores across the country where they would be sold. There
are copies of magazine ads dating from that time showing
nineteen of the twenty posters on the first invoice (Number 41
appears twice, and Number 38 does not appear.). I know of no ads
showing the posters on the second invoice. Because these posters
were shipped directly from the printer to Los Angeles, copies of
many of these
printings never were
in the Family Dog inventory so no copies of
those were distributed in the San
Francisco Bay Area unless a handful wound up in a local record
store. This also means that no copies of
many of these were in the possession of
Postermat, the North Beach San Francisco poster shop which
bought the Family Dog inventory when the Family Dog closed in
1968. This shop sold posters from the mid 1960s through the
1980s before selling its inventory to Artrock which eventually
sold its inventory of Family Dog material to Wolfgangs Vault.
This resulted in an almost complete absence of many of these reprints in
collections originating in the Bay Area.

Capitol Records has no
archive of old promotional material.Furthermore
it is their policy to destroy any unused promotional material
after six months. They were very helpful when I tried to find
copies of these variants, but they were long gone.Over the years I had been able to identify only a handful of these Kama Sutra Records reprints, mostly from the first list,
Numbers 1, 21, 28, 33, 38 and 42. All the others were unknown. I thought it was possible that some of these
so closely resembled
other printings that no one had recognized them, or, more likely, they had never fallen into the hands of
one of the few experts sufficiently familiar with the material
that they immediately would see they were different.

In 2008 on the internet
I encountered someone whose late father had been an executive of
Kama Sutra Records. Among the items in his estate was a
cardboard package containing copies of all twenty of the Kama
Sutra Records reprints. The package, which was printed with the
Family Dog logo, appears to have been the way in which at least
some of the Kama Sutra Records reprints were distributed to
record stores across the country.

I was able to study
each of these twenty posters carefully, and I discovered that
about half of them were from separate printings which can be
distinguished from other Family Dog reprints. The others appear
to be identical to copies which were in the Family Dog inventory
when it was sold to Ben Friedman/Postermat. The fact that about
half of these twenty Kama Sutra Records reprints match copies
which were in the Family Dog inventory in substantial quantities
indicates that at the time the Kama Sutra Records reprints were
printed, another 5,000 of them were printed and sent to the
Family Dog for distribution by them. By identical I do not mean
simply the same colors or paper stocks but also the presence of
common printing zits which are transitory in nature. These are
caused by specks of dirt which get onto the printing plate
during printing process and are periodically removed from the
plate by the printer. If there are common printing zits on
posters, it is clear the plate was not cleaned between the time
one was printed and the time the other was printed. If a press
run was ended at 5,000 and the plate was going to be reused,
even the next day, the plate would have been cleaned, so the
presence of common printing zits speaks strongly in favor of
these which match copies in the Family Dog inventory being
printed in one continuous press run of10,000
half of which was sent to Kama Sutra Records and half to the
Family Dog. Information about the specific posters can be found
under the listing for each poster.

The fact that some of
these Kama Sutra Records reprints have been so difficult to find
because they are identical to other well-known Family Dog
reprints leads me to believe that at least some and possibly
most of the Capitol Records reprints have been so elusive
because they, too, are identical to the well-known reprints that
were in the Family Dog inventory. Since several of the Kama
Sutra Records reprints turned out to be ones I had already
catalogued, for example FD-1-RP-3, I think it is possible some
of the Capitol Records reprints already have been entered in
this Guide, for example FD-D5-RP-2. Unless and until a similar
find of Capitol Records reprints is discovered, this will remain
a mystery. Of course, if anyone finds such a package of Capitol
Records reprints, I would very much like to see it.

I believe it is worth
noting that several of these reprints which definitely were
printed by California Litho Plate nevertheless bear credits from
Bindweed Press, the printing of FD-26 which bears the notation
“FD26 (3)”, or Double-H Press, FD-43-RP-3. This probably means
that film from those printers came into the hands of California
Litho Plate and was used to burn the plates used by California
Litho Plate.

It is also worth noting that in 1967
or 1968 Chet Helms went to England, and a Family Dog office or
shop was opened. I do not believe any concerts were promoted. The
business at this location sold a number of things including
posters. Some of these posters were numbered Family Dog posters
(Some years ago I saw a number of posters of flags of European
nations which had been stamped as sold by this business.). The San
Francisco Family Dog office sent these posters to London where
they were stamped on the front
“c FAMILY DOG PRODUCTIONS, LTD., ENGLAND”
and on the back
“FAMILY DOG PRODUCTIONS
2 BLENHEIM CRESCENT
LONDON, W.11 01-777-2823”
This was done with a rubber stamp. These posters are not listed
under specific numbers because they are standard Family Dog
posters. They are no different from other listed posters
except for the post printing additions of the two rubber
stamps.

After the Mystery of the Family Dog Capitol Records Reprints add:

FAMILY DOG--BINDWEED PRESS PRINTING RECORDS

In the middle 1980s I acquired photocopies of
the Bindweed Press invoices for the printing they did for the
Family Dog. At the time no one was seriously devoted to figuring
out what the printing history was for the later Family Dog posters
from FD-42 on, and the possibilities of unmarked early reprints of
Family Dog posters between FD-11 and FD-40 just was not high on
anyones list of important things to do. I glanced at them,
remembered a few generalities, and then put them in a box. In
20/20 hindsight it is too bad I did not study them carefully
because if I had, I might have been able to distinguish the
originals from the early reprints, but I did not, and that leads
us to the current situation in 2013 where there simply is no
possibility that anyone ever is going to be able to tell which are
the originals and which are the very early unmarked reprints. This
has created the necessity where all of these are accepted as
originals. This idea is accepted by all the major dealers and
collectors.

Over the years I have discovered that several
of these posters for which there are early reprints have two clear
and distinct groups, one obviously the original, the other the
reprint. We just do not know which is which. I have added these
pairs to the Guide and to my website. These are FD-22, FD-23,
FD-27, and FD-30. I thought that now it might be useful to give
the readers of this Guide the additional information that does
exist from these invoices so that they will know most of what I
know. I also want to say something about the posters that were
reprinted but for which there are no recognizable pairs. I say
"most of what I know" because there are a handful of facts that
someone might interpret to mean that this part of a pair or that
part of a pair is the original and the other the reprint. Since
nothing that I have been able to learn would prove positively that
one or the other is an original or a reprint, I will not add to
the confusion about this material by saying things that might only
incline someone to think they know the difference. If there is no
possibility of proving something with certainty, it would be
irresponsible of me to say things like "I sort of think that this
makes it more likely that A is the original and B the reprint."
Furthermore it would generate real chaos in this market if five
years from now what I had said was proved completely wrong. Those
of you who have been collecting this material for a long time know
what problems the misidentification of the Batman original caused
plus the problems that arose from my errors regarding BG-21 and
BG-38, and I hope I have gained the wisdom not to create similar
difficulties now.

With that preface, here is what I do know:

There are three relevant invoices. One dated
Nov. 30, 1966, the second dated Dec. 17, 1966, and the third Feb.
2 1967. The first two list all the Family Dog posters reprinted
without notation on them showing they were reprints. These are 18,
22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34.
Despite the fact that there are two clear and distinct groups for
35 and 36, the printing records do not show them being reprinted
without notation, so the two groups of 35 and 36 have to represent
changes in the inks used during one press run. The February 2,
1967 invoice says that 14, 17, 22, 24, and 29 were reprinted.
While the posters on the Nov. 30, 1966 and the Dec. 17, 1966
invoices were designated by the concert dates, the posters on the
Feb. 2 1967 invoice were designated by what was then the new
Family Dog numbering system.

It is very important to note here that the
Grateful Dead poster on this Feb. 2, 1967 invoice has the number
22 after the words "Grateful Dead," and the 13th Floor
Elevators poster on this invoice has the number 24 after "13th
Floor Elevators." I am inclined to believe these might be errors.
I raise this possibility because no additional printing of FD-22
exists with bracketed reprint notation on it printed on the
standard Bindweed Press vellum stock and with Bindweed credit, nor
is there a reprint of FD-24 with a bracketed reprint notation on
Bindweed vellum with a Bindweed credit. The only other known
legitimate reprint of FD-22 is the one on index printed by
California Litho Plate which has the notation "No. 22-3" in the
lower right corner, and the only other known reprint of FD-24 has
the notation "No. 24-2" in the manner used by California Litho
Plate in the lower right corner, not the bracketed notation used
by Bindweed Press.

I suspect that these actually refer to another
Grateful Dead reprint, FD-26-RP-2 which is on Bindweed Vellum and
bears the notation 26 (2), and another 13th Floor Elevators
reprint,
FD-28-RP-2 which is on Bindweed vellum, and bears the notation 28
(2), but this is educated speculation on my part. The reason I
consider this is that Bindweed charged the Family Dog for
reprinting some Grateful Dead poster and some 13th Floor Elevators
poster on Feb. 2 1967, but it appears these were not printings of
FD-22, and FD-24. FD-22 and FD-24 had the same bands listed as the
ones on the invoice, and the only other possibilities that I can
think of are FD-26 and FD-28 which in fact had the same bands
listed as FD-22 and FD-24. Remember that the Family Dog numbering
system was very new at this time, that Bindweed did not print
Family Dog posters after FD-40, and that Frank Westlake of
Bindweed Press more than likely confused the numbers he was told
although he apparently printed the images he was told with the
correct numbers on them. The billing may have been done earlier or
later, and he may have been confused by all this. As a side note,
I once was shown a Bindweed printing plate for FD-30 which had the
notation "30 (2)" on it, but this plate apparently never was used.
No posters bearing this notation exist. Also when
Double-H Press reprinted FD-9 around the same time as these
Bindweed reprints were done (a Double-H Press invoice in my
possession documents this.), FD-9 was misidentified with the
notation "4 (2)." This proves the printers used by the Family Dog
had confusion about what were the correct numbers in the new
numbering system.

It is worth noting that the printing plates
used for these early, unmarked reprints almost certainly were the
printing plates used for the originals. Frank Westlake printed
most of the Family Dog posters he printed on the same stock, so it
is reasonable to assume he printed almost all these reprints on
the same stock. He must have bought this stock in quantity from
the same paper dealer. This is in contrast to Bill Graham's early
printers for whom Wes Wilson purchased remaindered paper in odd
lots so that the stock used for many of the Bill Graham early
originals varies. Since the paper stock and the printing plates
for these unmarked Family Dog reprints were the same as for the
originals, the only differences on these reprints from the
originals is the possibility that Frank Westlake mixed different
proportions of inks for these reprints, so although he strove to
make the colors the same, they might not be identical. It also is
possible that in the weeks between the original printings and the
reprint printings, the plates might have been slightly damaged
leading to additional minor print flaws.

In the Guide and in the corrections and
additions section of my website I have designated two groups for
FD-22, FD-23, FD-27, and FD-30. There is no overlap between the
two groups. No transitional copies exist between them, and they
obviously represent an original and a reprint. We just do not know
which is which, and it is highly doubtful at this late date almost
fifty years later that we ever will. These distinctions are in the
Guide and/or one my website and need not be discussed further
here.

All of the reprints on the Nov. 30 1966 and the
Dec. 17 1966 invoices except FD-18 are preceded by the notation
"1M." This means that all of these reprints were done in press
runs of 1,000. The reprint invoice of Nov. 30 1966 listing FD-18
shows only 300 copies were printed. Since FD-18 was printed on a
paper stock very different from all the other Bindweed Press
Family Dog posters, I tend to assume that Frank Westlake had only
300 sheets left over from what he had bought for the original
printing, and he used these for the reprint. This probably was a
remaindered paper, and more identical stock was not available, so
that is why there were only 300 reprints. In this case this
variant, if we ever distinguish it, will be very scarce.

The difficulties of even finding what might be
pairs are made very clear by something that happened recently
dealing with FD-24. I was looking at about seven or eight copies,
and I noticed that there were two fairly distinct groups based on
the reds and the greens. Some of them were more light and pale,
and some of them were more rich and dark. It did not appear to be
more and/or less ink on the plate. The color itself appeared
different. I looked for some printing flaw which might be common
to one group and not appear in the other, and I found a flaw that
appeared on all the lighter ones and none of the darker ones. I
knew better than to conclude something from this small a sample,
but I thought it certainly was worth further research. I emailed
Mike Storeim of Classic Posters, and he had two more that fit the
characteristic. Then I called Dennis King who has spent almost as
long as I have looking at these posters, and I managed to persuade
him to look through his inventory. He found that not only did he
have copies where the printing flaw was greater and lesser down to
almost disappearing, he had copies of both color variations with
and without the flaw. Obviously this was not a distinction that
proved anything besides the possibility that the inks were changed
during one or the other press run, and that something went wrong
with the plate that printed the red during that run. This sort of
thing has happened to me several times with other early Family Dog
posters. Some characteristic appears which I think might be
significant, and after much research and bothering patient people
to whom I am very grateful, I discover that I have barked up the
wrong tree.

FD-25 is a poster which has not yet reached a
very high price level so it is one that dealers still might have
several copies in inventory. In the last decade I have looked at a
lot of them, and I can not seem to find anything, printing mark or
color distinction, which reliably separates them at all much less
into two distinct groups.

By this point it is unlikely that it would be
possible to assemble fifteen or twenty copies of the Skeleton and
Roses, FD-26, original in one place at one time, and so many of
the copies have been subjected to so much sun light that it is
doubtful that even if there were a distinguishing characteristic,
it is unlikely scholars could find it and then prove that it
distinguished two separate printings.

On FD-28 I am inclined to believe we never will
find anything to distinguish the two printings because instead of
everything being the same as on FD-25, on FD-28 there is a great
deal of variation in all the colors. The inks obviously were
changed during one or both press runs and transitional copies
between the color extremes exist.

On FD-29 there are original copies that are a
medium green which is consistent, and there are copies which are
dark green which varies from fairly dark to very dark, but the
really dark ones are very scarce, so it seems likely that this was
an experiment before actual printing started, and that this color
was rejected. The medium green is by far the best artistically so
it would seem the others were rejected. This seems to prevent
using this distinction to declare two separate groups.

On FD-31-OP-2 the printing is monochrome black,
and neither I nor anyone else I ever have discussed this with has
distinguished any copies (other than a couple with experimental
additional silver ink) which are different from the others. It
would seem highly unlikely that FD-31-OP-1 with the wrong date was
the version that was reprinted without marking. This means this
probably is the one most likely never to be separated into two
groups.

In contrast to most of the others where there
are too many variations, FD-32 seems to be the one where the
colors across the runs are very consistent. The means it is
unlikely this one ever will be separated into two groups.

FD-33 has at least three different variant
originals, medium green, dark green, and olive green. With three
variants it obviously is impossible to divide them into two
groups, so it is unlikely we ever will know even what the two
groups are, much less which group might have been before and which
after the concert.

FD-34 is the last poster mentioned on these
Bindweed invoices, and for this one there is a progression from
lighter to darker colors with all the steps in between. Again
there is no possibility of separating them into two groups.

After all this information is considered, what
should someone who collects these posters do now? On the one hand
if you collect these posters based on aesthetics and for decor, to
hang in your dining room, you should not do anything different
than you have done all along. You should buy the originals that
please your taste. Until and unless humans create a time machine,
no one ever will know which of any of these groups are originals
and which are reprints, and this means that if your taste prefers
the orange FD-27 over the reddish orange version, you should buy
it and hang it in your living room. It is an original. If you
prefer the reddish orange, buy that for the same reason. It is an
original.

On the other hand if you are a collector
amassing a set of originals of these posters, I think your
situation is quite different. When you collected your copies of
Bill Graham posters and you bought BG-29, you acquired one
of each of the three different variants, the black and white, the
magenta, and the purple. These are all originals, but they are
clearly different one from another. The same is true of these
Family Dog posters. They are variants of the original, and you
should have one of each in your collection when the groups are
obviously separate and distinct. In the case of those numbers
where there are no separate and distinct groups, then there is not
much point in your spending several thousand dollars to acquire
four different copies of, for example, FD-33 because this one is
several angstroms different in its shade of green from another one
you already have. If you bought every one that was slightly
different from the others you have, you could wind up with
eighteen of them and still be looking for number nineteen. That
way lies madness.

One last thing which occurred to me as I
was finishing this essay: in the mid 1970s I spoke with someone
whose identity I do not remember, but he must have been someone I
considered reliable because I consider the following factual. He
said that when the Family Dog went out of business around New
Year's Day 1968/1969 after losing the lease on the Avalon
Ballroom, he went by the Family Dog storefront and found the door
open but no one from the Family Dog there. He said there were
several people going through the Family Dog inventory and taking
whatever they wanted. He said that at that time he found copies of
Family Dog Bindweed originals. Since most of the Family Dog
Bindweed originals that had been printed before the shows had been
posted to advertise the shows, it would appear that as late as the
end of the Avalon Ballroom era, the Family Dog inventory still
included some of the unmarked Bindweed reprints I have discussed
here. On a more primary level this would appear to be further good
evidence that the reprints on the invoices I have actually were
printed.

As I end a lot of my emails to collectors
asking me questions, "I hope this helps."

Family Dog

Under the following Family Dog items (FD-5,14,17,21,26,43,64,67) add
an additional reprint with the entry:

"Pomegranate Press printed an authorized reprint of this image in
the 1990’s. A Pomegranate
Press credit appears on the reverse"

Under FD-1 description after “… suggested by Chet Helms.” add
“The title of this book is “The American Heritage Book of
Indians.” The editor in chief is Alvin M. Josephy Jr. The title of
the photograph is “Sioux
Chiefs.” It was taken by Edward Curtis.

Change FD-1-RP-3 to read

FD-1-RP-3 In 2000 a copy of the third printing was
discovered. It incorrectly bears the
notation "No.1-2" in the lower right corner. The "Washington
Street" credit is
deleted and replaced in the lower left bottom margin with "1967 c
Family Dog
Productions 639 Gough St., San Francisco, Calif. 94102". The
distance from
the
base of the "9" to the top of the "o" is the same as on FD-1-RP-2. In 2008 it was determined that this is
the Kama Sutra Records reprint. The 2000 copy and the 2008 Kama
Sutra Records copy are both on identical stock which has a woven
or “rows” texture on the front as well as other similarities.

14
9/32"
x 20 5/16" 14 13/32" x 20 9/32"

After notes under FD-1 add:
Important note 2010. In 2010 I saw a copy of FD-1-OHB-A that had no
visible dot screen in the
area around the Native American figure in the Family Dog logo. I was
able to establish that this
was an original by three means. First I looked at it under 20x
magnification and saw remnants
of dot screen not visible to the naked eye. Second this copy is on
stock which has a woven or
rows textured back. All known copies of the original are on stock
with a woven or rows tex-
tured back. The forgery has a random textured back. Third the stock
of this copy will not glow
or fluoresce under black light. Other originals will not do so
either. The stock of the forgery will
glow or fluoresce under black light. Please be aware of this new
information when examining
copies of FD-1-OHB-A.

Under FD-4 change FD-4-RP-4 to read:
FD-3-RP-4In 2008 the Kama Sutra Records reprint was
discovered. It can be distinguished from FD-3-RP-3 by the change of
the Family Dog address
to

Add to FD-5-RP-3 This poster is on stock which glows or floresces
under black light.
Change FD-5-RP-4 to read

"FD-5-RP-4 The fourth printing on uncoated index has the
same markings as FD-5-RP-3. The blue of this printing is
substantially lighter than FD-5-RP-3, and the red is slightly
lighter. The length is sufficiently different to use as a
distinguishing characteristic. In 2008 it was discovered that this
is the Kama Sutra Records reprint. The stock has "rows" or woven
texture on the back and does not glow or floresce under black
light. The previously known copy and the Kama Sutra Records copy
discovered in 2008 have identical linear dimensions.
14 21/64" x 20 55/64"

Under FD-5-OHB-A add: "In 2009 I was showed a copy of
this handbill which was substantially smaller than other copies I
had seen. I studied it very carefully under high magnification and
determined that it was not trimmed after distribution to hide edge
damage but was distributed in this smaller size. Henceforth it
should be noted that this handbill appears in various sizes. This
item does not have the perforations of FD-5-RHB-D. 11 23/32"x 15
3/16"

After FD-5-OHB-C add
FD-5-RHB-D Volume 9 Number 1 of CA
Magazine: The Journal of Communication Art
from
1967
had
an
article
on
psychedelic
posters.
Bound
into
the
spine
and
detachable
by
perforations
was
a
handbill
of
FD-5.
The
image
size
was
the
same as FD-5-OHB-A, but
the paper dimensions were 11 3/4” x 15 9/16”

Under FD-7 move "Daily Flash" from artists to acts.

Add to FD-9-RP-2 "There is a great deal of variation to the green
of this printing from light to
olive to fairly dark."

Under FD-9 notes add that the picture is of Greta Garbo from the
1932 film Mata Hari.

Under FD-11 change "FD-1-OP-1" to "FD-11-OP-1."

Under FD-12-OP-1 add: In 2011 a forgery dating from
the mid 1970s was discovered. The distinguishing characteristic of
this forgery is the horizontal measurement of the distance along
the
bottom edge of the rectangle surrounding "AVALON BALLROOM" from
the outer side of the left edge of this rectangle to the outer
side of the right edge. This
measurement on genuine copies is 13
7/32" plus or minus 1/64."
After FD-12-PP-5 add: FD-12-FP-6 In
2011 a forgery of the original printing of this poster was
discovered. It appears to date from the mid 1970s. The stock used
was quite thin. The best
way to distinguish this forgery from FD-12-OP-1
and FD-12-OP-2 is the measurement described under FD-12-OP-1. On
the forgery this distance is
13 1/64." It is not possible to give the
dimensions of this forgery because the copy which was discovered
had been trimmed.

<>After FD-12 add:
FD-12 The Quick and the
Dead
6/10 & 11/66 Avalon
Ballroom
Wes Wilson Grateful
Dead
Quicksilver
Messenger Service
New Tweedy Brothers
Poster image completely different from FD-12
FD-12-PP-6 In 2004 a pirate poster for the FD-12
event appeared on eBay. The image of
this poster bears no resemblance to the lawfully
copyrighted image designed
in 1966 by Wes Wilson. The exact date of the
creation of this pirate is unknown, but the condition and age of the
paper on which it was printed indicate
that it is at least ten years old. As pirate
printers have become increasingly
eager to make an illegal dollar, they have
resorted to a variety of attacks upon
the limited funds of most collectors. One of the
ways they have done this is to
create completely new posters for actual events
which took place decades before the bogus posters were created. One
of the most obnoxious facts about
these bogus posters is how bad they are
artistically. This item is not just an
infringement upon the Family Dog copyright. It is
an insult to the talents of the
great artists who created the wonderful posters
which characterized the psyche-
delic era, and all reputable scholars of this
material, dealers who deal in it and
collectors who collect it urge everyone to avoid
these awful insults to the era and not patronize anyone who sells
them. 11 27/32” x 17

Add to FD-14-OP-1 "Most originals were printed in silver ink."

Under FD-14-RP-3 add: "This printing is on stock which is smooth
on the front."

Change
FD-14-RP-4 to read:FD-14-RP-4In 2008 the Kama
Sutra Records reprint was discovered. Notations are the same as
those on FD-14-RP-3, but this separate printing is on stock
which has a “rows” or woven texture on the front. The blue is
slightly darker on

FD-14-RP-4 than it is on
FD-14-RP-3.
13 59/64 x 19 29/32”

After FD-14-RP-7 add

"FD-14-OP-8 In 1999 several copies of a variant original
printing were discovered printed with gold ink."

Under FD-14-PP-5 and FD-14-PP-6 change "priate" to "pirate."

Under FD-14-OHB-B change "FD-14-HBO-6" to "FD-14-OHB-A."

Under FD-14-RPC-C change "5 29/32"" to "4 29/32""

Add to FD-15-OP-1 “Underneath “Sopwith Camel” the poster reads
“FRI. AND SAT. NIGHTS ONLY.” Apparently due to a late change in
the bill some copies have a small sticker covering “SAT.” “SUN” is
hand written on this sticker.”

Under FD-15-RP-2 change "two" to "three" and "both" to "all"
twice. Add "It is on dull/matte finish stock."

Under FD-15-RP-3 add "It is on a semi glossy stock."

After FD-15-RP-3 add

"FD-15-RP-4 This variant is part of the same press run
as FD-15-RP-2, but it is .0090" thick. It is on a semi glossy
stock."

Under FD-17-RP-4 add: "This printing is on stock which glows or
floresces under black light.
Change FD-17-RP-5 to read:
FD-17-RP-5In 2008 the Kama
Sutra Records reprint was discovered. The notations on it are the
same as those on FD-17-RP-4, but this printing is on
stock which will
not glow or floresce under black light.14” x 20 1/16”

After FD-17-RP-7 add:
FD-17-PP-8 In 2011 a pirate
selling on www.amazon.com bootlegged this poster. The stock
used was slick and glossy. It is difficult to
say which variant was used as the
basis of this pirate because the “Jefferson
Airplane/Great Society” lettering is
blue and the “Avalon Ballroom” lettering is
purple. This does no match any
known variant poster or handbill. The size is
the distinguishing characteristic.
12” x 18”

Under FD-17-OHB-A change "FD-17-OHB-6" to FD-17-OHB-A."

Under FD-17 change handbills to read:

FD-17-OHB-A

The handbill was printed once but on three different
colors of paper. Since the amount of purple ink used
varied substantially, all four variants themselves vary
from one to the next from darker to lighter. The ink also
varied between pure purple and purple with a great deal of
red in it. Further confusing the issue is that by some
means unclear to me the distance between the "Bindweed"
credit and the bottom purple border varied. Sometimes the
credit was close to the bottom edge of the paper,
sometimes closer to the border, sometimes half covered by
the boarder, and sometimes actually covered by the border
making it appear that an entirely separate variant which
deliberately omitted the credit exists. Basically only
four variants exist. FD-17-OHB-A is pure purple ink on
white paper. 8 31/64" x 10 61/64"

FD-17-OHB-D In 2000 a variant was shown to me which I
had not seen before but which had been known for some time
to at least two serious collectors. This variant is the
pure purple ink on yellow paper. It is distinctly
different from FD-17-OHB-B which is much more common. It
should be noted that this new variant is not a two of a
kind item. The collectors who pointed it out to me each
said they had seen several copies of it and had long
thought it was in my guide.

Under FD-19-OP-1 change "right" to "left."

Under FD-20-OHB-A add:
It should be noted that the FD-20 image above is taken from the
poster. The handbills are slightly different without the rays and
with the lettering arranged differently and lower down and around
the five men picture.

Under FD-21 change the description to read:
“This poster is several shades of red and blue in a white frame.
For many years the central image of this poster was thought to be
the City Hall of San Francisco after the 1906 earthquake, but in
2003 it was pointed out to me by Christian Peterson that this is
actually the Sonoma County Court House after the 1906 earthquake.
“

After FD-21-RP-5 add

FD-21-RP-6

In 2000 another reprint was discovered. This dates from
the time of the concerts. Above the word "Dance" at the
top the top border line is straight for about 4 1/4". On
FD-21-RP-2 and FD-21-RP-3 the left end of this line simply
begins to slope downward. On FD-21-RP-6 this horizontal
line extends about 1/32" beyond the point where the line
begins downward. This creates a "Y" shaped effect not on
the other 1960’s reprints. This effect does appear on the
original. This poster does not have letter separations.
This poster is substantially longer than the others. This
poster is on uncoated index. In 2008 it was discovered
that this is the Kama Sutra Records reprint.
14 9/64" x 20 53/64"

Change the text of FD-22-OP-1 and FD-22-OP-2 to read:
FD-22-OP-1 There were two printings done on
vellum, one just before the concert (1,500 copies) and one a few
weeks after (1,000 copies). Both have “The Bindweed Press San
Francisco”
just left of bottom center. The
only way it is known there were two printings is from printing
records. No one knows which is the earlier and which is the later,
so both are counted
as originals. Both are c. 19 15/16”
long. One is c. 14 1/4” wide. In recent years leading up to
2013 I encountered increasingly more evidence that the width of the
two variant
original of FD-22 was not a reliable distinguishing factor. Please
stop using this characteristic to tell them apart. After much
examination of FD-22 original posters, it has become
apparent that some of them have a great deal of black back
print, enough that it is possible to recognize the image on the
reverse. Henceforth FD-22-OP-1 will be identified by the
presence of this extensive back print. 14 7/32” x 19
61/64
FD-22-OP-2 The other nearly identical printing is
c. 13 15/16” wide. FD-22-OP-2 will now be identified by the
almost complete absence of black back print. On this variant only a
few specks
are present, certainly not enough to identify
the image on the front. Both are considered originals. 13
59/64” x 19 61/64”

After FD-22-PP-4 add

FD-22-PP-5

In 1999 two separate reduced image, black and white only
(no yellow) pirates of this image were
discovered. On this version the distance from the
bottom most point in the
image near the right margin to the top most point in
the image
near the right margin (portions of the black line border)
is 16". On this version the motto "May
the Baby Jesus…" is nearly illegible.

FD-22-PP-6

On this reduced image, black and white only (no yellow)
pirate the distance
described under FD-22-PP-5 is 15 7/8". The motto "May the
Baby Jesus…"
is clearly legible.

After FD-22-PP-6 add:
FD-22-PP-7 In 2011 a pirate
selling on www.amazon.com bootlegged this poster. The stock
used was slick
and glossy. The background is not white but gray. The source of
this pirate is
unknown. It does not match any previous original, reprint or pi-
rate. There is a
white border around the gray background. The size is the dis-
tinguishing
characteristic. 12 1/64” x 18 1/64”

Under FD-23 after FD-23-RP-2 add:
FD-23-OP-3 In 2009 I saw two
copies of a variant original of this image. On this
variant the areas imprinted in blue on the common version are
printed in the same green as the background. The yellow on this
version is much darker than it is on the common version. The
Bindweed credit appears in the same location as it does on
FD-23-OP-1.
14 7/32” x 19 15/16”

Add to FD-24-OP-1 "The Family Dog logo is a negative image in white
with little detail."

Add to FD-24-RP-2 "The Family Dog logo is a positive image in
black with lots of detail."

After FD-24-RP-2 add

FD-24-PP-3

In 1999 a pirate was discovered. It had been shot off a
damaged copy of FD-24-RP-2.The upper right and lower right
corners have printed "tears" and "tape pulls" which appear
to have been on the legitimate copy used to produce the
pirate. There is extensive dot screening around the border
which is white on FD-24-RP-2. Colors are substantially
different.

After FD-24-PP-3 add:
FD-24-PP-4 In 2011 a pirate selling on the internet bootlegged
this poster. The stock used was glossy. The size is the
distinguishing characteristic. 12 1/64” x 17 63/64”

After FD-24-OHB-D add
FD-24-OHB-E In 2014 a fifth variant was discovered. This
variant is light off red with dot screen background on white stock
with blank reverse.

Under FD-25 descriptions add: “The man in the image was named Bear
Bull. He was from the Blackfoot tribe. The photograph was taken by
Edward S. Curtis and dates from 1926.”

Special Correction

In the third edition of my guide dated
1996 under FD-26 the secondentry which is for the second printing, a
reprint, incorrectly is listedas 'FD-26-OP-2'. The text describes it as a
reprint, and this error wascorrected to read 'FD-26-RP-2' in all later
editions, but this correctionwas never listed with the other corrections.
Please note thatthe correct listing for this item which is a
reprint is 'FD-26-RP-2.'

Under FD-26 add
Change
FD-26-RP-4 to read: In 2007 I located a copy of the Kama Sutra
Records reprint of this poster. It turned out to be identical to
FD-26-RP-3. See
"The
Mystery of the Capitol Records and Kama Sutra Records Reprints" in
the Table of Contents.

"In 1997 it was learned that this edition was a properly licensed
reprint, not a pirate."

Add to FD-26-PP-10 14 1/16" x 19 11/16"

After FD-26-PP-10 add:

FD-26-PP-11 In 1999 yet another pirate printing of
FD-26 was discovered also on .0050" stock

but less glossy than FD-26-PP-10. This one
measures 14 5/16" x 19 11/16".

After FD-26-RP-13 add:
FD-26-PP-14 In 2008 a pirate printer, probably in Australia,
printed two different bootlegs of this image both of which were sold
on ebay. Both are distinguished by the fact that white
areas of these posters are not pure white but
contain small, colored dots. These posters are based on FD-26-RP-3.
They both were printed digitally on semi-gloss stock, not
uncoated
index as the lawful reprint was. The distinction between them is
size. This pirate/bootleg measures 13 7/8" x 10 61/64"
FD-26-PP-15 This is the larger of the two 2008 Australian
pirate/bootlegs. 14 1/8" x 21 3/32"

After FD-26-PP-15 add:
﻿FD-26-PP-16 In 2011 someone decided that
there were not enough bootleg versions of this image so they decided
to create another one. This one apparently is based on the original
because it
has the Bindweed credit but no numbers
in the lower left corner. It is on thin, glossy stock. It has the
credit “Pyramid America” in the lower left corner. 24 1/32” x 36
1/64”

Under FD-27 change the notes to read:
This poster is dark green, screened dark green, orange or rust,
black and white on a white
background. The central image is the drawn head of a snarling wolf.
This is the only Family Dog poster for which a silk screen version
was created prior to the con-
cert. Only 20 or 30 of these silk screens were done, and only a
handful survive making them
one of the most sought-after of Family Dog items. These silk screens
are substantially larger
than the typical 14" x 20" size of most Family Dog posters. It
should be noted that Stanley
Mouse had studied silk screening in the early 1960s in Detroit and
was an accomplished silk
screen artist long before the Family Dog series began.
Previous material in the notes incorrectly stated there was a
transitional copy showing a mix of the orange and red/orange inks
indicating only one press run. This is incorrect. Printing receipts
from Bindweed Press show this poster was reprinted on or about
November 30, 1966. The supposedly transitional copy really is just a
red/orange copy with a little less of the red/orange ink.

Under FD-28-OP-1 add: "Many copies of this poster have the Bindweed
Press credit cut in half so that only the top half appears. In 2011
a copy was discovered with the entire Bindweed credit
eliminated. This is due to the sheet being fed into
the printing press at a slight angle. On this copy the blue
background at the top is closer to the edge of the paper at the
left side than on the right side. This resulted
in the part of the blue printing plate with the Bindweed credit
missing the sheet entirely. It is possible other copies like this
exist. It should be possible to authenticate
these copies as genuine by other evidence, but such copies should
not be considered genuine unless they are authenticated as
genuine by someone can identify that they were
printed by the correct original printing plate on the correct paper
stock."

Under FD-28 change FD-28-RP-5 to read
FD-28-RP-5 In 2002 an alert Doug Garn noticed what was then thought to be a copy of the Capitol Records reprint of
FD-28. It is distinguished by
the
notation“28 (3)” in the lower left
corner. The copyright address is 639 Gough St.In 2008 it was
discovered that this actually is the Kama
Sutra Records
reprint.

13 31/32”
x 20 1/16”

Under
notes
under
FD-28
change
the
notes
to
read:
"The
striped
effect
was
not
produced
by
shining
light
on
the
face
of
a
man
through
Venetian
blinds
as
had
been
previously
stated
in
this
guide.
It
was
produced
by
a
light beam used by the USA military for making a facial contour
map for an Air Force flight helmet. The photographer was the
famous Life magazine photographer, Ralph Morse.

After FD-28-PP-7 add:
FD-28-PP-8 In 2011 a pirate selling on the internet
bootlegged this poster. The stock used was glossy. The size is the
distinguishing characteristic. 12 1/64” x 17 63/64”

Under FD-29-RP-4 change "right corner" to "left margin."
Under FD-29 change FD-29-RP-4 and FD-29-RP-5 to read

FD-29-RP-5In 2008 the Kama Sutra Records reprint
was discovered. It bears the same notations as FD-29-RP-4, but
it is a separate printing. Colors, paper stock and linear
dimensions are all different. This printing is on stock that
does not glow or floresce under black light. 13 63/64” x 19
31/32”

After
FD-29-RP-5 add:
FD-29-PP-6 In 2008 a pirate printer, probably
in Australia, printed a pirate/bootleg poster of this image
which was sold on ebay. This bootleg was based on FD-29-RP-4. It
can be
distinguished
by the fact that the white areas are not pure white but contain
small, colored dots. It was printed digitally on semi-gloss
stock unlike the uncoated index of the
lawful
reprint. 13 61/64" x 19 63/64"

exist. This poster is on a stock which has a
mild glow or florescence on the back when exposed to black
light. 14 9/32” x 19
31/32”

FD-30-RP-4In 2008 the Kama Sutra Records reprint
was discovered. It was a separate printing. It bears the same
notations listed for FD-30-RP-3, but the paper stock is
different, colors are different and linear dimensions are
different. This stock does not glow or floresce when exposed to
black light, but the easiest way to distinguish this printing is
that it is 3/8” narrower than FD-30-RP-3.

13 7/8” x
19 57/64”

Under FD-33 artists add: Wes Wilson
**In 2014 I was going through the Guide, and I happened to stop on
this image. I gave some serious thought to the artists’ credit for
this image and decided that the main portion of this image, the
Family Dog logo, was created by Wes Wilson, and although I do not
think he should get a credit on all the Family Dog posters on
which the logo appears, I now think that he should get credit as
one of the artists on this individual poster because the logo is
the main element of the image. I exchanged emails with Wes and
asked for his thoughts on this, because I would not change
something like this without consulting him, but he, too, thought
about it, and he agreed with me that this poster should be
considered a collaboration between Mouse and Kelley and
himself. Accordingly his name has been added to the artists
credits for this poster.

Under FD-33-OP-1 change "left" to "right."
Under FD-33-RP-4 add "In 2008 it was discovered that this was
the Kama Sutra Records reprint. The copy that I obtained in the
mid 1970s from Bob Cohen, Chet Helms' associate, was identical
in microscopic printing marks, linear dimensions and paper stock
to the Kama Sutra Records copy."

After FD-33-RP-4 add:
FD-33-PP-5 In 2008 a
pirate printer, probably in Australia, printed a pirate/bootleg
poster of this image which was sold on ebay. This bootleg was
based on FD-33-RP-4. It can be
distinguished
by the fact that the white areas are not pure white but contain
small, colored dots. It was printed digitally on semi-gloss
stock unlike the uncoated index of the
lawful
reprint. 14 1/8" x 20 17/64"

After FD-34-RP-2 add:
FD-34-PP-3 In 2011 a pirate selling on the internet
bootlegged this poster. The stock used was glossy. The size is the
distinguishing characteristic. 12 1/64” x 17 63/64”

After FD-34-OHB-D add:
FD-34-OHB-E In 2011 a copy of FD-34-OHB-C was
discovered with a page of Mojo Navigator printed on the back. This
sheet probably was printed with the handbill front and then
the Mojo
Navigator page added to the back
and finally inserted in an issue of the magazine. It is likely
that other issues of Mojo Navigator had other Family Dog handbills
in them besides
this and FD-40-OHB-D which has been known for a long time. 8
29/64” x 11 15/64”

Under FD-36 change date to read "11/25 & 26/66."

After FD-36-RP-3 add

"FD-36-OP-4 In 1999 copies of a variant original printing were
discovered on orange stock."

Under FD-38-RP-3 add, "In 2008 it was discovered that this was
the Kama Sutra Records reprint. The copy that I obtained in the
mid 1970s from Bob Cohen, Chet Helms' associate, was identical in
paper stock and linear dimensions to the Kama Sutra Records copy.
The paper stock was woven or "rows" texture on the front.

Change FD-39-RP-2 and FD-39-RP-3 to read:

FD-39-RP-2*This reprint is on uncoated index and adds “No. 39” in the
lower right corner.No indication
is made of second or third printing. This printing has a blue which is a
medium blue darker than that of FD-39-RP-3. 13 61/64” x 20
1/64”

FD-39-RP-3*In
2008 the Kama Sutra Records reprint was discovered. It bears
only one major printing differences from FD-39-RP-2. The only
consistent recognizable difference is that the blue of this
printing is a light blue lighter than that of

FD-39-RP-2. 13 3/4” x 20 1/16”

*After looking at a lot of copies of
FD-39-RP-2 and several of FD-39-RP-3, I discovered that

both versions were printed at the same time. The evidence for
this is
common printingzits on

both
and
darker blue and lighter blue versions. The blue ink simply was
changed between the

run of 5000 of one and 5000 of
the other.

I have tried to avoid any distinction
between two printings of a poster which requires someone

to
have more than one item in his/her hand, but here this is
unavoidable. Both versions exist on stocks which have and do not
have “rows” or woven texture, so that criterion can not be used.

Some copies of each glow or floresce under black light, and
others do not, so that criterion

can not be used.
The stocks are all of similar thickness so that can not be used.
I even noticed

that linear dimensions, length and
widthvaried on both versions. The
only real

difference is the color, and I believe the semantics of color
are unreliable for describing the

difference between
these shades of blue. Since these are reprints and most
collectors are not

that concerned with telling
reprints apart, especially ones probably printed an hour or two
apart,

I am going to make an exception this one time.
If you need to tell these two reprints apart, you

will have to have one of each in front of you. The darker will
be FD-39-RP-2, and the lighter

will be FD-39-RP-3.

After FD-39-RP-3 add
FD-39-OP-4 In 2003 a variant
of the original was discovered which was not printed with the
black
plate. On this variant the Indian appears blue which was printed
under the black on those
copies which were printed with the black plate. “The
Bindweed Press San Francisco”
appears in white drop out in the lower margin at left. 13 49/64” x
19 61/64”

After FD-40-OP-1 add:
FD-40-PP-2 In 2011 a
pirate selling on www.amazon.com bootlegged this poster. It was
done on slick, glossy stock. The size is the distinguishing
characteristic. 12” x 18”
FD-40-PP-3 In 2015 yet
another pirate/bootleg of this poster was offered on ebay. This
one was much larger than the original. Printing was somewhat
muddier both due to
the copying and the expansion. Size is the distinguishing
characteristic. 17 15/16” x 24 1/32”

Under FD-40-OHB-A delete “Toward the end of the press run the red
ran low, and many copies
exist
with pale red.”
After FD-40-OHB-B add
FD-40-OHB-C It had previously been thought that the version
with pale color instead of red was a result of the red ink running
low in the reservoir of the press. Closer examination of
this version shows that it is a different color than pale red.
Accordingly it has been designated a new variant. Thanks to
Phil Cushway for pointing this out to me in 2003. 8 17/32” x 10
31/32”

FD-40-OHB-D Some copies of this handbill had part of an
interview with Country Joe and the Fish on the back. This was then
distributed with an issue of Mojo Navigator.

Under FD-41-RP-2 change “41-2” to “41 (2).”
Under FD-41-RP-2 add: This more commonly seen variant lists the
Family Dog address as 639 Gough Street.
Change FD-41-RP-3 to read: The Kama Sutra Records reprint
discovered in 2008 lists the Family Dog address as 1725 Washington
Street. This means that FD-41-RP-3 predates FD-41-RP-2. 13 63/64"
x 20"

Under FD-41 change FD-41-OHB-B to read:

The other handbill is black ink on coral paper. Both
have a Family Dog credit and
bulk postal information on the reverse. In 2001 a copy was
discovered which had been
mailed to someone on the mailing list. 8 17/32" x 11 1/32"

Under FD-41 after FD-41-OHB-B add

FD-41-OHB-C Some copies of FD-41-OHB-B were hand
addressed and sent to people on the mailing list.

Under FD-42-RP-2 add: "In 2008 when I
was able to compare copies of this item with the copy that came
from Kama Sutra Records, it was possible to establish that this
was the Kama Sutra Records printing. Paper stocks were the same,
size was within 1/64” and there were several common printing zits.
13 63/64” x 19 31/32”

Change the text of FD-43 to read:

FD-43-OP-1The poster was printed three times.One original has “Double-H Press”
credit below the Family Dog phone number. Number appears in
lower left corner on poster. 14 1/64” x 20” See
FD-43-RP-3 for reprint with “Double –H Press” credit.

*FD-43-OP-2In 2003 it was discovered that the printing
which deletes the “Double-H Press” credit is an original.Accordingly this designation has been
changed from

FD-43-RP-2 to
FD-43-OP-2. See evidence at the end of this section.

14 5/64” x 19
61/64”

**FD-43-RP-3In
2007 I had access to a number of posters from the estate of an
executive of

Kama Sutra Records.One of these posters was a copy of
FD-43. To my

surprise this poster had the “Double-H
Press” credit. Printing records of California Litho Plate show
that they reprinted this poster for Kama Sutra Records

long after the concert, so this poster definitely is a reprint,
so all Double-H

credit posters of FD-43 will need to
be examined to see if they are reprints.

I discovered
that the original with the Double-H credit is on stock which

floresces or glows under black light. The reprint with the
Double-H credit does

not. See further evidence at
the end of this section. 14 1/32” x 19 59/64”

FD-43-RP-4Pomegranate
Press
printed an authorized reprint of this image in the 1990’s. It is
the same image as FD-43-OP-2 with no Double-H credit. A
Pomegranate

Press credit appears on the reverse. 12
29/32” x 14 15/16”

FD-43-OPC-AThe
postcard appears in three forms.The
first has a blank reverse.

4 31/32” x 7 3/32”

FD-43-OPC-BThe
second has a Family Dog credit and bulk mail permit on the
reverse.

5 1/16” x
7”

FD-43-OPC-CSome
copies of FD-43-OPC-B were mechanically addressed and sent to
people on the mailing list.

F.
D. 43 Moby Grape

This
poster is several shades of bluish gray and white on a red
background. The central image

is a photograph of a
kneeling woman, Alla Nazimova, from the 1923
silent movie Salome. The

card for this image was the
first in the numbered Family Dog series to have been printed on
the

same sheet as the poster, at first one poster
and four cards and then shortly thereafter one poster

and six cards which became the usual policy. After this point
only a handful of cards were

printed separately from
the posters. As far as is currently known no Family Dog cards
ever

were reprinted when the posters were reprinted
during the 1967 – 1968 period. For this reason

with
only two or three exceptions the cards parallel the original
printings perfectly and comparison

between the card
and poster of a specific number for identical colors is usually
a reliable means of distinguishing original printing posters
from reprint posters incorrectly bearing

the
designation "-1" in the numbered Family Dog series (This does
not apply to the Bill Gra-

ham series.).

*Evidence: Since the time of the
concerts it had been assumed that because the Double-H credit
printing was more scarce than the one without the credit and
because the change in credit implied a change in printers, that
the Double-H credit printing was the original and the one
without this credit was a reprint. In 2003 Phil Cushway of
Artrock discovered a printer’s proofsheet which had a single
FD-43 poster, four postcards and concert tickets. This
proofsheet did not have the Double-H credit. Because it is known
that the cards were never reprinted and tickets were certainly
not reprinted (In fact the usual policy was for the printer to
stop the press when enough tickets had been printed and then
remove that portion of the image from the printing plate so that
printer’s proofs often exist both with and without tickets.), it
is clear that the printing without the Double-H credit is an
original printing. Accordingly the designation of this printing
in this Guide had been changed to “FD-43-OP-2.” It was then
necessary to consider the possibility that the Double-H credit
printing might be a reprint. This was very unlikely because
Double-H did not print any later printings after FD-43, but it
had to be considered. Using a 20x loupe, I examined the paper
stock used for the Double-H credit printing. Icompared this to the stock used for the mailed cards sent
to people on the mailing list. The stocks are identical. Since
the mailers were printed first, well before the concert, the
Double-H credit printing is also an original printing. It is
noteworthy that the printing without the Double-H credit appears
on two slightly different stocks. These differences are most
notable with respect to how they appear under black light.
Furthermore the blank backed cards which were handed out in the
street to advertise the event also are printed on two slightly
different stocks which correspond to the two stocks of the
printing without the Double-H credit, further evidence that
these posters were printed before the concert. Why the Double-H
credit was removed at some point in the press run is not known
for certain.One possibility
suggested by Jacaeber Kastor is that since the printing records
show that the original of this poster was printed by California
Litho Plate, not Double-H, and that the ticket outlets strip on
FD-43 is based on the ticket outlets strip of

FD-42,
that the ticket outlets strip from FD-42 inadvertently was
attached to the FD-43 artwork without the Double-H credit being
removed. The plate was made from this artwork, and printing was
begun. Shortly after printing was begun, one of the pressmen at
California Litho Plate noticed the Double-H credit, stopped the
presses and removed the Double-H credit. Since cost was a big
factor in printing these posters, the copies with the improper
Double-H credit were not thrown out but were delivered to the
Family Dog along with the ones without the Double-H credit. All
things considered, this makes sense because ticket outlets
strips were occasionally reused without careful attention being
paid to incorrect information they might include. This was also
the case with BG-230 where a ticket outlets strip including
David Singer’s name was attached to a poster by Pat Hanks.

**Further
evidence:
While it was good evidence that the copy ofFD-43 which came from the

estate of a Kama
Sutra Records executive was a reprint just because it came from
that estate, and printing records show this poster was reprinted
for Kama Sutra Records, there was the possibility that he might
have acquired this poster separately, especially since the
“Double-H Press

credit was present. I looked for
further evidence, and I noticed that this poster

had
a remnant of a printer’s bull’s eye in the middle of the right
edge. Because original posters

of FD-43 were printed on the left half of
sheets with the cards on the right, it would be impossible for
there to be a printer’s bull’s eye along the right edge of an
original because the right edge of an original would have been
in the middle of the uncut sheet, and printers did not place
printer’s bull’s eyes in the middle of uncut sheets. They only
placed them along the edges of the sheets. This means that this
poster was printed on the right side of a sheet which means it
was printed two up (two posters side by side) on a sheet with
another copy of FD-43. Only the oddly shaped FD-98 and FD-99
originals were printed on sheets without the cards. Since we
already know of printer’s proof sheets with cards which are
originals, we know that the posters from this sheet which was
printed with two posters side by side has to be a reprint.

Once I
had determined that this poster had to be a reprint, I looked
for a means of distinguishing it from the original with the
Double-H credit. At that point I found that the paper stocks
were different, that the originals floresced or glowed under
black light, and this reprint did not. I did not use the
printer’s bull’s eye remnant as a distinguishing characteristic
because the poster was printed two up on a sheet, and the
posters on the left half of the sheet would not have this
printer’s bull’s eye remnant in the middle of the right edge.

Under FD-44-OP-1 Delete:

"Copies of the original measure .0070"-.0072" thick which matches
cards and mailers. These are 20 1/4" long."

In place of the deletion add:

"The original was incorrectly identified as 20 1/4" long in
earlier editions of this Guide The original is the 19
15/16" long printing."

At the bottom of the page add: "*This error was discovered by
Jacaeber Kastor."

After FD-45-PP-3 add:
FD-45-PP-4 In 2011 a pirate
selling on www.amazon.com bootlegged this poster. The stock
used was slick and glossy. A white border not
on the original was added. The
distinguishing characteristic is its smaller
size. 12 “ x 18”

Under FD-46 change the text to read:

FD-46-OP-1 The original printing of this poster
was done on three stocks of paper. All three match the
variations of postcards. Color shadings vary within press
runs but three groups are apparent. None of the three
originals have the mark described under FD-46-RP-3. One paper
stock was thin, only .0055”, and glossy.
14 5/32” x 20 1/64”
FD-46-OP-2 The second original was on a more
porous stock similar to vellum. This took the ink much
differently than FD-46-OP-1. This one is .0065” thick.
14 3/32” x 20”
FD-46-RP-3 The reprint was done on index similar
to that used on many later Family Dog posters. This stock is
.0075” thick. The reprint has a very faint black line beginning
1/2” above the upper right point of the star in the upper left
corner of the poster. (If the star was a clock, this point is at
two o’clock.). This line curves slightly, rises a bit from left to
right and is about 5/8” long.
14 5/32” x 20 1/64”
FD-46-RP-4 In 2009 it was discovered that the
variant thought to be a separate printing was not. Accordingly
this listing is deleted. The unusual color of the stock was due to
damage. The size difference probably was due to the reprint being
printed two up (two posters side by side), and the cutter being
set so that the cut in the middle was closer to one side than the
other. The proof that this poster is part of the same printing is
that it has common printing zits from dirt on the printing plate
as copies of FD-46-RP-3.
FD-46-OP-5 In 2009 I learned that some copies of
the original poster were printed on even thinner stock than
FD-46-OP-1. This stock is very thin, only .0045” thick and glossy
like FD-46-OP-1.
FD-46-OPC-A “Place stamp here” reverse, same
stock as FD-46-OP-1. 5 1/64” x 7”
FD-46-OPC-B “Place stamp here” reverse, same
stock as FD-46-OP-2. 5” x 6 31/32”
FD-46-OPC-C Bulk mail permit reverse, same stock
as FD-46-OP-1. 5 1/32” x 6 31/32”
FD-46-OPC-D Bulk mail permit reverse, same stock
as FD-46-OP-2.
FD-46-OPC-E Some copies of FD-46-OPC-C were
mechanically addressed and sent to people on the mailing
list.
FD-46-OPC-F Some copies of FD-46-OPC-D were
mechanically addressed and sent to people on the mailing list.
FD-46-OPC-G “Place stamp here” reverse, same stock as
FD-46-OP-5. 4 63/64” x 6 61/64”

Change the notes to read:
F. D. 46 Dance of the Five Moons

This poster is red, green and red over blue on a blue background.
The central image is made
up of five circles each with a face in profile in it. They are
surrounded by stars. On his last
several posters Victor Moscoso had been experimenting with a type
of lettering that slanted
slightly to the left and widened towards the bottom which was
rounded. The lettering on this
poster is one of Moscoso's mature, signature alphabets which
continues to be seen today in a
wide variety of places, especially in advertising. Unfortunately
he rarely if ever is given credit
for originating this design. Although the printers of the early
Bill Graham series posters often
changed paper stocks during the press run of originals, this was
not common in the Family
Dog series, but it did happen in this case. The original printing
of this poster as well as the
postcard appear on three different paper stocks.

Under FD-49 change posters to read

FD-49-OP-1Printing records indicate this image was printed multiple times.Unfortunately
postcards including addressed mailers vary considerably from
light to dark blue and light to dark orange.Paper stocks vary in thickness as well.In 1998 a distinguishing characteristic between
FD-49-OP-1 and FD-49
reprints was discovered
by Jacaeber Kastor. The original does not have the small line in
the blue margin described under FD-49-RP-2 . 14” x 19 63/64”

FD-49-RP-2On all the reprints
of FD-49 there is a small, horizontal line in the blue border
above the “ER” in “KEPLER’S” in the ticket outlets strip. This
line is only a few thousandths of an inch wide by 1/8” long. In 2007 it was determined that there
were a total of three separate reprints. As fate would have it
the one whose dimensions are listed here probably is the last
printing. It is characterized by a blue which is lighter than
medium blue. All the others are medium blue or darker. This is
also the only one of the reprints which probably was not printed
two up alongside FD-59, so there is no reprint of FD-59 which is
parallelto this FD-49. The back
does not turn gray or lavender under blacklight

13
61/64” x 20 5/64”

FD-49-RP-3This reprint was printed two up on the same sheet
(alongside) a reprint of

FD-59. This means that
paper stocks and colors are the same on that reprint and this
one. This reprint is substantially wider than the other two
reprints of
FD-49 so the width will be the distinguishing characteristic.

14 23/64” x 20 1/16”

FD-49-RP-4This reprint was printed two up on the same sheet side by
side with a reprint of

FD-59. The colors and paper
stock match those of that FD-59. The distinguishing
characteristic of this poster is that the stock will turn gray
or lavender under black light. The light blue version will not.
The blue of this poster is darker than medium blue. 13 61/64” x
19 61/64”

This entry replaces any previous FD-50 entry.

FD-50

Break on Through to the
Other Side

3/3 & 3/4/67

Avalon Ballroom

Victor Moscoso

Country Joe and the Fish
Sparrow
Doors

Under FD-50-OP-1 change 14 32/32” to 14 3/32”

FD-50-OP-1* The original printing of this poster has a ticket
outlets
strip in green. A proof sheet exists which shows the postcards
with a
white strip and a poster with a green strip. Since cards were not
reprinted, the original has a green strip. Since FD-50-RP-7
discovered
in 2002 also has a green ticket outlets strip, it must be noted
that
FD-50-OP-1 has a small (1/64") black spot near the top of the left
portion of the second "R" in "Sparrow" just under the middle of
the
right leg of the "H" in "the." 14 32/32" x 19 49/64"

FD-50-RP-2 The second printing, a reprint, has the ticket outlets
strip
in white. A substantial number of copies of this printing have a
mostly
horizontal printing flaw across "Sparrow." 14 1/32" x 19 31/32"

FD-50-RP-3 A variant exists which has the ticket outlets strip
replaced with "Printed by Offset in Three Colors on International
Paper’s Springhill ® Whitetag, Basis 100." A short essay about
printing technique and the life of Victor Moscoso appears on the
reverse of this printing. "No. 50-1" appears in the lower left
corner.

FD-50-RP-4 This variant has a blank ticket outlets strip. A
substantial
number of copies of this printing have a mostly horizontal
printing
flaw
across
"Sparrow."
This
variant
was
printed
on
two
different
paper
stocks.
One
has
a
woven
or
"rows"
texture
on
the
back
and
does
not
glow
or
floresce
on
the
back
under
black
light.
It
turns
an
off
white. The other does not have a woven or "rows texture on the
back. This variant turns gray on the back under black light. 14
1/32" x 19 31/32"

FD-50-RP-5 In 1990 Pyramid Books in England printed this image.
Paper stock is thick and glossy. The top half inch of the image is
missing. In 1997 it was learned that this was a properly licensed
reprint, not a pirate. 11 57/64" x 16 35/64"

FD-50-RP-6 Another variant exists which has the ticket outlets
strip
replaced with "Printed by Offset in Three Colors on International
Paper’s Springhill R Whitetag, Basis 100." A short essay about
printing technique and the life of Victor Moscoso appears on the
reverse. "No.50-1" does not appear in the lower left corner.

FD-50-RP-7* In 2002 a printer’s proof sheet was discovered with
two
posters printed side by side. These both have a green ticket
outlets
strip. This newly discovered reprint may be distinguished from
FD-50-OP-1 because copies of FD-50-RP-7 do not have the small
black dot described under FD-50-OP-1. Colors do differ from
FD-50-OP-1, especially the blue which is much lighter on
FD-50-RP-7,
but the presence or absence of the dot is the distinguishing
factor.

FD-50-RP-8 In 2007 I located a copy of the Kama Sutra
Records reprint of this poster. It turned out to be identical to
the variant of FD-50-RP-4 which was on stock which turned gray on
the back under black light, the variant which did not have a woven
or "rows" texture on the back. See "The Mystery of the Capitol
Records and Kama Sutra Records Reprints" in the Table of Contents.

FD-50-OPC-A The ticket outlets strip is white on both printing
variants of the postcard. "Place stamp here" is on one reverse. 5
1/64" x
6 61/64"

FD-50-OPC-C Some copies of FD-50-OPC-B were mechanically
addressed and sent to people on the mailing list.

*Since the early 1980’s serious scholars of this material have
been aware that in 1967
Capitol Records ordered 100,000 posters from the Family Dog, 5,000
each of 20 images.
These were shipped directly from the printer to Capitol Records.
The evidence for this is
the existence of a printer’s invoice describing this sale. Capitol
Records then distributed
these posters to record stores across the country. They also
advertised the set of 20
posters in music magazines. Since these posters were shipped
directly from the printer
to Capitol Records, no copies of these posters were in the Family
Dog inventory when
the Family Dog went out of business and sold its remaining
inventory to Postermat.
Accordingly these have been very difficult to locate and document.
One of the last
missing Capitol Records variants has been the FD-50. In 2002 we
found out why we
had been unable to document this variant. It simply looked too
much like the original to
be noticed.

Fortunately in 2002 Bill Jacobs of California discovered a
printer’s proof of two FD-50
Posters printed side by side. Since all California Litho Plate
Family Dog originals except
the unusually shaped FD-98 and FD-99 were printed on the same
sheets as cards which,
according to employees of California Litho Plate were never
reprinted, it was clear that
this was a proof sheet of the long sought Capitol Records reprint.
Mr. Jacobs was kind
enough to bring this proof sheet to the October 5, 2002 TRPS (The
Rock Poster Society)
Swap Meet where it was carefully examined and compared to an
original proof sheet
which once had been the property of the artist, Victor Moscoso,
who had taken it home
from the printer’s before the concerts. Present at that time and
assisting me in this
examination were Jacaeber Kastor and Dennis King as well as
several other serious
scholars of this material. Mr. Kastor and I agreed that the best
distinguishing
characteristic was the presence or absence of the dot mentioned
under FD-50-OP-1. Mr.
Dennis King felt that although the dot did distinguish between the
two printings, he
preferred a different distinction involving the Family Dog logo.
Those interested in his
distinction should contact him directly.
I wish to thank Mr. Jacobs for discovering this variant and
bringing it with him to the
Swap Meet so we could all study it and Mr. Dennis King for
recognizing the importance
of this proof sheet and speaking to Mr. Jacobs about bringing it
to the Swap Meet where
it could be studied.

F. D. 50 Break on Through to the Other Side This poster is
several shades of green, red
and blue. The central image is a photograph of a human face seen
from the bridge of the
nose up. A series of wavy lines emanates from the middle of the
forehead giving the
appearance of the radiation of energy. The caption "Break on
Through to the Other Side"
is written above the face in reference to the Doors song with that
title. The four Doors
posters in the Family Dog series by Victor Moscoso are among the
most popular
psychedelic posters both because they are very beautiful and
because they are for
concerts by the Doors.

Under FD-51 Change posters to read:

FD-51-OP-1In 2007 it was
determined that there were two printings of FD-51 with a dark
pink Family Dog logo. The original dark pink logo poster is
substantially wider than the dark pink logo reprint. The black
of the original is much darker and more nearly black than that
of the dark pink logo reprint, but the width should be used as
the distinguishing factor. 14 17/64” x 20 1/64”

FD-51-PP-3In 2006 a pirate printer offered a bootleg of this image
on a website which has since been discontinued. The image of
this bootleg is much larger than that of the original. 18 29/32”
x 24”

FD-51-RP-4This dark pink logo reprint is much narrower than the
dark pink logo original. The black of this variant is more of a
dark gray than a black.

14” x 20 1/64”

Under FD-52-OP-1 and FD-52-RP-2 add "It is on uncoated index."

After FD-52-RP-2 add "FD-52-RP-3 This variant is on semi glossy
stock."

Under FD-53 Artist add: “Fred Roth (Photographer)”

Under
FD-54 change FD-54-OP-1, FD-54-RP-2 and FD-54-RP-3 to read:

FD-54-OP-1
The
original
printing
is
c.14
5/16"
wide
or
wider.
The
original
has
a
dot
similar
to
that
mentioned
under
FD-54-RP-2.
The
distinguishing
factor
between
FD-54-OP-1
and
FD-54-RP-2
is
that
FD-54-OP-1
is
substantially
wider
than
FD-54-RP-2.
14
27/64”
x
20
3/64”

FD-54-RP-2
The second printing, a reprint, is c. 14 1/8" wide or
narrower. This reprint has a small, reddish dot
located in the left margin outside the blue double border
1 7/8” below the bottom of the “S” in “Sunday.”
This dot does not appear on FD-54-RP-3. 13 31/32” x 19
29/32”

FD-54-RP-3
In 2008 the Kama Sutra Records reprint was discovered. It is a
separate printing from FD-54-RP-2. The colors are different from
either FD-54-OP-1 or
FD-54-RP-2. There are no common printing zits
despite there being quite a few on each printing. This printing
may be distinguished by the fact that it is narrower than 14 1/8”
wide and does not have the dot described under
FD-54-RP-2. 13 31/32” x 19 31/32”

<>Change
FD-55
posters to read:

FD-55-OP-1 Because of the relative similarity of
posters and postcards it is difficult to describe differences
between the two printings of this poster, but a proof sheet of FD-55
and FD-57
exists, and the FD-57 on this sheet is
definitely FD-57-RP-2, so it is clear there were two printings
of FD-55. In 2004 it was discovered that the backs of original
printing posters
and cards of FD-55 fluoresce or glow under black light. There
is some variation in color among the originals. One reliable
distinction between originals and reprints is this glow
under black light by the originals. In 2015 it was discovered that
the originals of FD-55 have two extremely small 1/100” dots in
the top margin. Both are approximately 1/8” from
the top edge. One is 1 7/8” in from the left
edge. The other is 3 1/2” in from the left edge. 14” x 20 1/16”
FD-55-RP-2 The backs of reprints of FD-55 do not
glow under black light. Reprints do not have the two dots in the top
margin described under FD-55-OP-1.

Under FD-56 change OP-1 and RP-2 and FD-56-RP-3 to read

FD-56-OP-1*The best distinction between the
original and the reprints of this poster is the absence of small
red printing flaws on the originals which are present on

FD-56-RP-2
and the absenceon originals of the
blue dot which is present on both FD-56-RP-2 and FD-56-RP-3. 14 1/32” x 20 1/64”

FD-56-RP-2*On
this reprint there are small, fine horizontal red lines
(printing flaws) in the right margin around and below the lower
right edge of the photograph. Some copies have more of these
flaws, and some have less, but all these reprints have some.
These reprints also have the blue dot described under
FD-56-RP-3.

13
59/64” x 19 31/32”

FD-56-RP-3*In
2008 the Kama Sutra Records reprint was discovered. It is a
separate printing from FD-56-RP-2. It does not have the red
print flaws that are described under FD-56-RP-2. It does have a
small blue dot located as follows: First find the period (.) in
“Alchemical Co.” Then find the “2” in “94102,” the zip code in
the Family Dog address. Draw an imaginary vertical line below
the period and another horizontal one to the right of the bottom
of the “2.” The location of the blue dot, if it is present, will
be where those two imaginary lines meet.

13 63/64” x
20 3/64”

Under FD-56 notes add

Phil
Cushway has very rightly said that if I change anything
significant in this Guide at this late date (2008), I should
include the evidence which supports this change. Since the new
definitions of Family Dog 56 posters narrow the definition of
the original, I believe it is appropriate to explain why this
has been done.

Originally I had thought that there were only two printings of
this poster. These were

FD-56-OP-1 and the one
listed as FD-56-RP-2 which was described as having the small red
printing flaws in the right margin below the photograph. There
were numerous copies of what now is clearly a third printing
(FD-56-RP-3) in the San Francisco Bay Area in the inventory of
the Family Dog which were sold to Ben Friedman of Postermat in
1968, but I had not recognized them as a separate printing
because they were so similar to FD-56-OP-1. While

FD-56-RP-2
was very different in color from FD-56-OP-1, FD-56-RP-3 was
nearly identical in color to FD-56-OP-1, and I thought the minor
differences were variations within a press run.

Further compounding this problem was the fact that when, at the
suggestion of Jacaeber Kastor, experts began examining these
posters for the presence or absence of “rows” or woven texture
on the paper stocks, it was clear that both FD-56-OP-1 and what
is now FD-56-RP-3 were printed on the “rows” or woven side of
paper stock with one side “rows” or woven in texture and the
other side smooth.I considered
this so unusual that the likelihood that two separate printings
of a poster done half a year or more apart were both printed in
this way was so small that these had to be the same printing.

Then in 2008 the Kama Sutra Records reprint showed up. Printing
records clearly indicated it was printed at least six months
after the shows, but there it was, printed on stock with “rows”
or woven texture on the side of the printing. The cards,
including the mailers, were printed on the “rows” or woven
texture side of stock with one side “rows” or woven texture and
the other side smooth. But the Kama Sutra Records printing had
to be a reprint and so did any others that matched it, but the
problem was that there was no immediately apparent difference
between it and the postcards, and this meant the originals which
matched the postcards were on that type of stock, too.

Jacaeber
Kastor
had
said
that
there
was
a
large
and
elaborate
print
flaw
between
the
upper
portions
of
the
“H”
and
the
“A”
in
“Charlatans”
which
only
appeared
on
a
small
number
of
copies
of
FD-56
which
he
had
seen, and he took that as his signifier for originals. I saw
these posters as originals, but I would not accept this print
flaw as a signifier because I had seen copies of FD-56 with only
very small versions of this print flaw. I reasoned that this
print flaw developed and got worse as the press run continued,
and that early in the press run this flaw was not present at all
so there were originals without it. Accordingly I stayed with
the small red print flaws on FD-56-RP-2 as the only necessary
signifier distinguishing between two and only two printings.
Jacaeber Kastor correctly identified that there were three
printings, but by using the print flaw between the “H” and the
“A” of “Charlatans” as a signifier for the original, he
eliminated legitimate originals from his listing of originals.

Since I already knew that the postcard was on “rows” or woven
texture stock with the image on the “rows” or woven texture
side, I had to find some other means of using the postcard to
document the difference between the original FD-56-OP-1 and the
Kama Sutra Records reprint

FD-56-RP-3. I took out
two copies of the poster which I had obtained in the late 1960s
from people who had gone to many of the shows and whose
collections had included mostly originals. This did not mean
these were definitely originals, but it did mean it was likely
they were. One had the print flaw between the “H” and the “A” in
“Charlatans,” and the other did not.

I held the backs of my three postcards and one mailer under a
black light, and all had an identical mild white floresence. I
did the same with the two posters I thought were likely to be
originals. Both of these matched the mild white floresence of
the postcards and mailer under black light. I then tried the
same comparison on two posters which had been bought in the
1970s from Ben Friedman’s Postermat which came from the Family
Dog inventory as well as on the Kama Sutra Records reprint.
These all matched each other in turning purple/gray under black
light. This was a good start, but only two copies of each poster
as well as the Kama Sutra Records reprint and three cards was
not enough of a sample to be definitive.

I then went to Wolfgangsvault where I checked these patterns
against a large number of postcards and posters. The three
posters in the archive of Jacaeber Kastor, which now belongs to
Wolfgangsvault, which Mr. Kastor had thought were originals, all
matched the postcards by florescing white. The posters in the
Wolfgangsvault inventory which were not from the

FD-56-RP-2
printing,
turned one of two similar shades of purple/gray under black
light. All the postcards in the Wolfgangsvault inventory matched
mine in florescing mild white under black light. It was now
clear that the Kama Sutra Records printing had been half of a
ten thousand print run half of which had gone directly to Kama
Sutra Records and half of which had gone to the Family Dog’s own
inventory.

At this point I considered the possibility of using the common
floresence of the postcards and the originals as the
distinguishing criterion, because this and the obviously
different floresence of the Kama Sutra Records reprint was the
evidence that led me to my conclusion, but this would have
required a reader of this Guide to have a black light and a
postcard in addition to a poster in order to tell what his/her
poster was. I have resisted using criteria generating this need
for multiple items because if it is at all possible, I think
this Guide should be able to tell a collector how to figure out
what an item is using only one item.

At Wolfgangsvault I had six different originals and a pile of
reprints sorted by white or purple/gray floresence on the back.
This was, I hoped, enough to find some mark which would be on
one or the other group consistently so it could be used to
distinguish the groups which had already been accurately
separated by whether they matched or did not match the
floresence of the postcard.

Grant Feichtmeir of Wolfgangsvault (who by now in 2008 is very
knowledgeable about this material) and I began looking at
several FD-56-RP-3 reprints along with the originals. We noticed
several transitory red printing flaws but eventually focused on
several blue dots. Eventually we discovered the one in the lower
right corner which I describe under FD-56-RP-3. This dot was
clearly a mark on the plate because it appeared on every copy of
FD-56-RP-3 which turned purple/gray under black light as well as
all the copies of FD-56-RP-2, but it did not appear on any of
the copies of FD-56-OP-1. At this point we agreed that the blue
dot would be the means by which we would distinguish FD-56-OP-1
from FD-56-RP-3.

I hope
that the readers of this Guide will find this explanation
adequate to justify this change in the Guide. If anyone
has any questions about this, please email me at the
address on the title page of this Guide.

Under FD-57 acts change "Maji" to "Haji"."

Change FD-57-OP-1 and FD-57-RP-2 and FD-57-OPC-A to read

FD-57-OP-1

The original poster differs from the reprint in a number
of ways involving color tone which are apparent when held
side by side, but the best way to tell them apart when
only one is present is to look 1 1/4" to the left of the
"1" in "1967" in the bottom margin copyright notice. On
the original there is a 1/64" irregular blue dot. This
distinction was discovered by Jacaeber Kastor in 2000.
There is some variation in color among posters with the
dot. Since there are similar copies of the card, these are
originals.

FD-57-RP-2

On the reprint the dot described under FD-57-OP-1 has
been deleted.

FD-57-OPC-A

The postcards parallel FD-57-OP-1 in color. This card
has a "place stamp here" reverse.

Under FD-59-RP-2 add: "The back of this variant will turn gray or
bright lavender under blacklight. It was printed two up on a sheet
with FD-49-RP-4."
Under FD-59-RP-3 add: "The back of this variant will not turn gray
or bright lavender under blacklight. It was printed two up on a
sheet with FD-49-RP-3."

Under FD-60 change FD-60-OP-1 and FD-60-RP-2 to read

FD-60-OP-1 On the original the white area described
under FD-60-RP-2 is filled with pale brown ink. 14 1/64" x 20"

FD-60-RP-2 Below the word "ROOM" on the right side of the photo
is a heart shaped design with an arrowhead shaped tail. This
tail is under the "M" in "ROOM." On the reprint there is a white
area along the top edge of the arrowhead shaped tail. This area
is c. 1/2" long by c. 1/32" wide. 14 3/64" x
20 1/32"

Change FD-60-RP-3 to read:

FD-60-RP-3In 2007 I located
a copy of the Kama Sutra Records reprint of this poster. It
turned out to be identical to FD-60-RP-2. See “The Mystery of
Capitol Records and Kama Sutra Records Reprints” in the Table
of Contents.

Delete all of FD-61 descriptions and replace with:

The good news is that after years of confusion, the mystery of
FD-61 has, at last, been resolved.
The bad news is that most of what has been in this guide
about FD-61 before 2003 has been
wrong. My fellow scholar of this material, Jacaeber Kastor of
Psychedelic Solution in New York
City, was only one third wrong, much better than me.

For years we have known that FD-61 was one of the few remaining
images which we really did
not have correctly described, and in January 2003 we began
exchanging emails seeking to figure
out what the truth is about this difficult image. Eventually we
spent an hour and a half on the
phone with each other and with a group of posters and cards in
front of us, and as we exchanged
insights, we finally were able to achieve accurate answers to our
questions.

I believe that since many people rely on this guide, readers are
entitled to more than just a
correction of a mistake. They are entitled to an explanation of
why something was wrong and
why the new information is correct. A description of the
process of how the new conclusions
were reached will be found following the entry for this number.

FD-61-OP-1 The original is identified by a
horizontal band 1/8” wide running parallel to,
below and touching the lowest pink border. This
band in the blue area is a very faintly
darker shade of blue than all the other blue of
the poster. This band is most visible
beginning just above the “s” in “outlets” at
the bottom and running to the left edge of the
paper. There is also a similar band 1/16” wide
and 1 1/2” long or longer extending
vertically (at a right angle) upward from the
first band in the left margin. It is necessary
to search very carefully under very good light
in order to find this band. Holding the
poster at varying oblique angles can help.
Another characteristic of this poster is a small
dot immediately to the left of the “M” in
“Moscoso.” Stock of this printing varies from
.007” to .008” 14” x 20”

FD-61-RP-2 The second printing does have the
dot but not the band described under
FD-61-OP-1. Stock also varies in thickness and
texture. At least two separate stocks are
known to exist for this printing. 14 1/64” x 20
1/16”

FD-61-RP-3 This printing does not have the dot
or the band described under FD-61-OP-1.

FD-61-OPC-A This card has a “place stamp here”
reverse. There is a faint darkening of
the blue in a vertical band 1/8” wide down the
card beginning above the “E” in “The
Doors.”

FD-61-OPC-B This card has a bulk mail permit
reverse and the same band described
under FD-61-OPC-A

FD-61-OPC-C Some
copies of FD-61-OPC-B were mechanically addressed and sent
to
people on the mailing list.

FD-61-OPC-D This card has a “place stamp
here” reverse but no band as described under
FD-61-OPC-A.

FD-61-OPC-E This
card has a bulk mail permit reverse but no band as described under
FD-61-OPC-A.

FD-61-OPC-F Some copies of
FD-61-OPC-E were mechanically addressed and sent to
people on the mailing list.

The process by which the new descriptions of FD-61 were arrived
at is as follows:

The old signifier for FD-61, the difference between pure orange
and reddish orange was always
considered problematic. Most of the readers of this guide found it
useless because the semantics
of color are different from person to person. Many people even see
color differently from eye to
eye (Try looking at something carefully with one eye shut. Then
change eyes. Many people will
recognize subtle differences in color.). Furthermore experiments
have shown that different
cultures describe color differently. If you take a color band
tapering gradually between blue and
green and ask a person born and raised in Tokyo where the color
stops being blue and starts
being green, that person will pick a different place along the
band than a person born and raised
in New York City. Also I once was on a glacier and asked a dozen
people whether a particular
point on the glacier was blue or green, I got seven “blue” answers
and five “greens.”

For this reason several people have looked very closely at FD-61
posters to find some marking
which would work. In early 2003 I finally noticed the band
described under the new listing for
FD-61-OP-1. I examined it on several dozen copies, both those I
thought were originals by color
and those I thought were reprints by color. All of those I
thought were reprints had the band,
and all those I thought were originals did not have it. I then
sent this information to Jacaeber
Kastor of Psychedelic Solution in New York City. He studied many
more copies and agreed it was
a workable signifier, but he believed I had it backwards.
According to him it was the originals
which had the band. We then spent an hour and a half on the phone
with a pile of copies of this
poster in front of each of us, and he noticed that the band does
not disappear to the right of the
“S” in “Outlets.” It only becomes more faint. It actually runs all
the way across the poster to the
right edge.

He then had the excellent insight that if he was right and the
band was only on originals and ran
all the way to the edge of the poster, it would appear on two out
of every six postcards because
the cards had been printed so that they were on the same double
sheet with the original poster,
one poster with six cards. We both got out a number of cards, and
we were both able to find
cards with the band running exactly where it should be according
to his theory. This
demonstrated conclusively that those posters with the band are
originals, those without are
reprints. In order to double check this I called Paul Getchell,
another serious scholar of this
material, who owns a copy of the uncut printer’s proofsheet of
FD-61 with the cards. I asked him
to look for the band, and he was able to find the band running all
the way across the poster
horizontally and vertically down the lowest two cards on the
sheet. The cards on this sheet are
rotated 90 degrees from the poster so a horizontal line on the
poster would be vertical on the
cards.

This leads to the question of how I managed to get the original
and the reprint reversed for all
these years. I had used the logic used on most of the Family Dog
items from this period, that
since the cards were never reprinted, the original poster was the
one which matched the cards.
In this case for unknown reasons, the cards and posters do not
match. Paul Getchell told me that
one of the things which is interesting about the proofsheet which
he has is that the orange is
much darker and more reddish on the side/half of the postcards
than it is on the side/half of the
poster. The darker, more reddish postcards more closely match the
poster reprint which was done
later on a double sheet printed side by side with a poster of
FD-66. Mr. Kastor has a photograph
of the printing plate of this item so we know it was printed this
way. Further linking
FD-61-RP-2 to FD-66-RP-2 is the fact that the vertical bars/lines
which appear in the red on that
poster also appear in the upper left red area of FD-66-RP-2 also
appear in the upper left blue
area of FD-61-RP-2.

Mr. Kastor also showed me copies of another poster which is a
third printing of FD-61 which does
not have the darker blue band and is missing the small dot which
appears immediately to the left
of the “Moscoso” signature in the plate on FD-61-OP-1
and FD-61-RP-2. He believes, and I am
inclined to agree, that this poster was printed later, probably
two up with two copies of the same
image.

I apologize to the buyers of this guide for this error which is
probably the worst in this guide
which has been discovered up to this point. I can only say that
this is a fluid scholarship with new
discoveries made regularly, and those of us who study it try our
best to see the information we
share with others is as accurate as possible.

Under FD-62 change posters to read:

FD-62-OP-1In 2007 it was
discovered that this poster was printed twice and that there are
two variants of the original. Both variants of the original have
a small

c. 1/64” blue
dot in the right margin level with the right arm of the “Y” in
the Family Dog logo. Both variants are printed on “rows” or
“woven” textured stock. This variant has the rows pattern on the
front of the poster.

14 1/32” x 20 1/64”

FD-62-OP-2This variant with the blue dot described above has the
rows pattern on the back of the poster. 14” x 19 31/32”

FD-62-RP-3The reprint does not have the blue dot described above
and is on stock which does not have a rows pattern on either
side.13 31/32” x 19 31/32”

FD-62-OPC-CSome
copies of FD-62-OPC-B were mechanically addressed and sent to
people on the mailing list.

Under
FD-62 notes add:

F. D. 62 Sutter's Mill

In
2007 Phil Cushway, owner of Artrock, discovered that he owned two
proof sheets of this

poster, one with cards alongside
the poster which was the original and
one printed side by side

with FD-58, obviously a
reprint. He studied these two sheets carefully and noticed that
the

original had the blue dot described above, and the
reprint did not. In order to prove that the dot

was not
just a flaw on this copy but on the whole run, several hundred
posters were sorted by

dot/no dot and then sorted by
stock. All copies with the dot were on one stock and all copies

without the dot were on the other. This proved the dot was a
reliable signifier for the

original. Some cards have rows pattern on the front, some
on the back.

Change FD-63 text to read:

FD-63-OP-1 The original is on stock with a tan
reverse. This tan stock has a “rows” or woven texture on the
reverse. All postcards are on this stock.
14 9/64” x 21 51/64”
FD-63-RP-2 This reprint is on stock which has an
off white reverse. It has a “rows” or woven texture, but its color
is very different from FD-63-OP-1. No postcards exist on this stock.
13 63/64” x 21 51/64”
FD-63-RP-3 This reprint is on stock which has a
tan reverse, but this tan stock does not have a “rows” or woven
texture reverse. It has a random textured reverse. No postcards
exist on this
stock. 14 3/64” x 21
51/64”
FD-63-OPC-A Postcards only exist on the tan stock
with the “rows” or woven texture reverse. This card has a
“place stamp here” reverse. 4 15/16” x 6 31/32”
FD-63-OPC-B This card has a bulk mail permit
reverse. 4 63/64” x 7”
FD-63-OPC-C Some copies of FD-63-OPC-B were
mechanically addressed and sent to people on the mailing list.

Under FD-64 change the entire text to read:

FD-64-OP-1 This poster was printed at least three
times. Greens, blues and lavenders all vary substantially sliding in
shade from light to medium. In 2009 Phil Cushway, owner of
Artrock, posted a video on You Tube showing both an FD-64 proof
sheet with postcards (an original) and an FD-64 proof sheet printed
two posters side by side (a reprint). The colors of this reprint
proof sheet were similar to those of the original. He pointed out
that the poster of the original proof sheet had two characteristics
distinguishing it from the posters of the reprint sheet of similar
colors. On the original there is a small, 1/32” x 1/64,” slightly
darker blue/green dot located in the medium blue background 2 1/2”
above the top right corner of the right edge of the “V” in “AVALON.”
He also pointed out a small 1/64” white dot located in the green
just below and between the two “Ls” in “MILLER.” on the left side of
the poster.
14 1/32” x 20 1/32”
FD-64-RP-2 One printing of the poster is on
uncoated index but is a much darker blue than the postcard. It
is not possible to say whether this reprinting came before or after
FD-64-RP-6 which was discovered in 2009. 14 3/64” x 20”
FD-64-RP-3 This variant of the poster is similar
in color to FD-64-RP-2 but instead of being on uncoated index it is
on semi glossy stock. 13 61/64” x 19 61/64”
FD-64-RP-4 Pomegranate Press printed an authorized
reprint of this image in the 1990’s. A
Pomegranate Press credit appears on the reverse.
12 15/16” x 14 15/16”
FD-64-PP-5 In 2007 I was shown a
copy of this poster which is unlike any of the previous
copies I have seen. It is on much thicker stock,
.0110,” with a different texture
than any used by California Litho Plate for
Family Dog posters. For this and other reasons, I believe this is a
pirate/bootleg not authorized by the copyright
holders. Some detail is lost, especially in the
ticket outlets strip but also in parts of the image. It may be
identified by thickness alone. The other printings are all less than
.0090” thick. It appears to have been printed by offset lithography
so it may have been around for years or even decades. 14 7/16” x 20
3/16”
FD-64-RP-6 This reprint does not have the two
distinguishing marks listed under
FD-64-OP-1, but the colors are very similar to
the original.
14 7/64” x 20 3/32”
FD-64-OPC-A This card has a “place stamp here”
reverse. 4 61/64” x 6 31/32”
FD-64-OPC-B This card has a bulk mail permit
reverse. 4 31/32” x 6 63/64”
FD-64-OPC-C Some copies of FD-64-OPC-B were
mechanically addressed and sent to people on the mailing list.

F. D. 64 Pink Panther

This poster is dark pink, green and a near black produced by blue
over green on a blue
background. The central image is the eyes and nose of a cat with two
human profiles
superimposed so that each is facing downward, one under each eye of
the cat. Careful
observation, particularly in the lettering, shows slight overlap of
color intended to create a
three-dimensional effect similar to but not as intense as on No. 53.
This is the last of the four
Doors posters by Victor Moscoso in the Family Dog series, and it is
much sought-after and
expensive.

In his video of 2009 on You Tube Phil Cushway, owner of Artrock,
stated that he thought it
was necessary that whenever I made a substantial change in this
Guide, that I should explain the
reasoning process leading to this change. Actually I have already
been doing this since 2005.

It would be easy for me to say that the reason I changed the
Guide here is that Phil Cushway
told me to, but because I do not always agree with Mr. Cushway
despite the fact that I readily
acknowledge his vast expertise on these posters, I would like to
point out that I did extensive
study of FD-64 posters before I changed the Guide.

Not only was it simply obvious that the small, darker blue dot was a
plate mark showing
that the originals were printed with a different plate than the
lighter blue copies of the poster
which were without this small blue mark, there were several other
plate marks on the reprint not
on the original, and there were different degrees of shading to
stripping marks in the upper left
corner of each printing.

I was very ably assisted by Grant Feichtmeier in this 2009 research
done at Wolfgangs Vault.
Thanks, Grant.

I note in passing that the most recent edition of my Guide stated
,”This poster was printed at
least two and probably three times.” I have long suspected that
there was an additional printing,
but the only way that this additional printing could be
distinguished was with study of this
repint proof sheet which Mr. Cushway has. I understand he is very
busy running his business,
but hopefully now that he has been able to get around to this image,
he will have time to go
through more of the printing plates, film and proof sheets he stated
in the videos that he has.

All serious collectors of this material look forward to new videos
by Mr. Cushway as he goes
through this storehouse of material. Of course, I would be happy to
assist him in the study of
this material if he would consent to share it with me, but if he
chooses not to do so, I never-
theless am eager to share with the readers of this Guide whatever
insights I am able to glean
from the videos he posts.

Under FD-65 add:
FD-65-PP-3 In 2008 a pirate/bootleg of this poster was
printed, probably in Australia, and sold on ebay. It copies
FD-65-RP-2 and has a yellow border. The bootleg was printed
digitally on semi-gloss stock unlike the lawful reprint which was
printed on uncoated index. This bootleg can be distinguished by the
fact that the white areas are not pure white but are filled with
small, colored dots. 14 9/64" x 21 1/8"

Following FD-65 add the following:

In 2001 Mr. Phil Cushway, owner of Artrock, raised the issue of
whether or not the distinction made in my guide between FD-65-OP-1
and FD-65-RP-65 was correct. His assertion that it might not be
appeared in three sentences which were part of the description of
Ebay item 1446507693, a copy of FD-65-RP-2. His words addressing
this topic are as follows, " The white border is generally
considered to be the first printing, while the yellow border is
supposed to be the second printing. While this may be true, ( I
was not there to be sure) I do have an uncut proofsheet of white
cards and a yellow border poster. Thus, although this is
considered to be a second printing poster, there is proof to the
contrary with the proofsheet."

Beginning with FD-43 and extending to FD- 86 almost every Family
Dog poster was reprinted at least once. The only exceptions appear
to be FD-70, FD- 73, and FD-80. FD-82 was probably printed twice,
but both printings predate in the show. It was generally Family
Dog policy to reprint an item when stock ran low. The three which
were not reprinted were among the slowest selling Family Dog
posters from the era, and there was an ample supply of them in
stock as demonstrated by the fact that there were substantial
numbers of them in the inventory when it was acquired by Ben
Friedman, owner of the Postermat, who bought the Family Dog poster
and postcard inventory not long after the Family Dog went out of
business.

During the time when these posters were being published, early
collectors were not taking careful notice of the reprints of
Family Dog posters between numbers 43 and 86. There was an
awareness of earlier, pre-43 reprints because these were, for the
most part, properly labeled, but in general the fact that the
Family Dog chose to mislabel reprints "-1" seemed to preclude
discussion in the '60s. Distinctions like the differences in color
tone on many of the posters which are obvious to us now were
initially ignored. The exception to this was FD-65. The white
versus yellow distinction was so drastic it was impossible to
ignore.

I generally have avoided citing my own experiences as sources of
information, but in this case I will make an exception.

Mr. Cushway repeatedly has stated, "I wasn't there so I don't
really know for sure." This once I choose to say, "I was there. I
do know." By the time of the FD-65 concert I knew at least a dozen
other collectors, most of whom I had met either from ads I had run
in underground newspapers or from encounters on Telegraph Avenue
while trading postcards carried in cigar boxes. There was quite a
bit of comradery as well as trading, and we exchanged information
freely. When the yellow bordered FD- 65 appeared, it was long
after the show. I was very curious about it, and I remember asking
everyone I knew who was collecting the posters if they had seen a
yellow bordered one at the time of the show. They all said they
had not seen it until it began being sold in poster shops months
after the show. Everyone remarked that the only ones they had seen
at the time of the concert were the white bordered ones, and only
white bordered ones appeared in runs of originals collected from
the people who had gotten their posters attending the concerts. It
was the recognizably different yellow bordered FD- 65 that
eventually led collectors to speculate that the Family Dog might
be reprinting posters after number 43 without properly designating
them as they had before number 43. In fact, this was what was
happening.

This brings us to the prooofsheet mentioned by Mr. Cushway. I
have seen this proofsheet, and there is no doubt it is as he
describes it, six white bordered cards alongside a yellow bordered
poster. Although it is well established that no yellow bordered
posters were distributed before the show, merely relying on this
avoids the issue of the existence of Mr. Cushway's proofsheet
which almost certainly was printed prior to the show because it
includes cards. As I have written in several places, cards
apparently were not reprinted by the Family Dog, but the answer
here is simple and is confirmed by a variety of other proofsheets,
some of them owned by Mr. Cushway. The artists who created these
posters liked to experiment, and they did so often. The artists
themselves state this. Large numbers of one of a kind printings of
these posters exist, experiments with colors which the artists
decided they did not want to use or they were told they could not
use because of some additional expense. Rick Griffin apparently
liked
the idea of this poster with the yellow background and border. One
was printed before the show as an experiment, but it was not
chosen as the final original format. Later when it came time
reprint this poster, Rick’s preference for a yellow border was
accepted. This is the most logical
explanation considering that no yellow bordered posters were
distributed before the show and none appeared until months after
the show. Rather simply put, if the Family Dog had printed
substantial quantities of yellow bordered posters prior to the
show, they would have distributed them. This is also suggested by
the fact that Rick’s posters were very popular and that all his
other Family Dog numbered images were reprinted. This image was
quite popular, and it was from the time when the posters before
and after it were reprinted so it would be highly unlikely it was
not reprinted. The above evidence points very strongly to two
printings of FD-65, a white bordered original and a yellow
bordered reprint.

One additional confirmation of this which testifies to the level
of alertness of the late 1960s collectors is that when Family Dog
Number 121 appeared in two substantially different color variants,
both before the show, I remember that collectors were aware of
both variants within a week or two after the concert. The same
would have been the case if substantially different color variants
of FD-65 had been distributed before the show. Everyone involved
would have wanted copies of both versions in the same way they
wanted both versions of FD-121.

Under FD-66 change "Schwal" to "Schwall."

Under FD-66-OP-1 change the text to read:

FD-66-OP-1

This poster was printed twice. The
original printing matches the postcard and does not have
the lines described under BG-66-RP-2.

FD-66-RP-2

In 1999 a reprint of this image done in
1967 or 1968 was discovered. The reprintis a lighter
green and a lighter red than the original. It does not
match the postcard.Paper dimensions, length, width and
thickness are very close to identical with the original.
When viewed at an oblique angle the upper left corner of
the reprint seems to have five or six faint vertical red
lines about 3/32" wide separated by red lines of similar
width that are very faintly different in color from the
background red. These extend from the top edge to the
green border of the image. This is one of the few
posters where it might not be a bad idea to have a
postcard handy to check whether an item is an original
or a reprint.

FD-66-OPC-A

This card has a "place stamp here"
reverse.

FD-66-OPC-B

This card has a bulk rate permit
reverse.

FD-66-OPC-C

Some copies of FD-66-OPC-B were
mechanically addressed and sent to people on the mailing
list.

Following FD-66 add the following:

In 2001 Phil Cushway, the owner of Artrock, wrote a one page
essay claiming that the distinguishing feature used in my Guide to
tell the difference between FD-66-OP-1
and FD-66-OP-2 was incorrect. He published this essay on Ebay
along with the description of Ebay item No. 1446507650 which was a
copy of Family Dog No. 66, the "Strongman." While
Mr. Cushway expressed a number of general reservations about my
Guide which are discussed in a new part of the introduction to my
Guide (see table of contents: Response to Concerns Expressed by
Phil Cushway), I will address here only the reasons why I believe
he is incorrect in his contention that either there is only one
printing of this poster or there is more than one printing but
they are indistinguishable.

Since I seek to be fair in a scholarly refutation of Mr.
Cushway's thesis, I will quote in full his paragraph from Ebay on
FD-66. It appeared exactly as follows:

"I have a great deal of issue’s of the now "current" (this
year's) model. [The reference is to the latest edition of my
Guide.] That in 1999 it was discovered that these were in fact 2
printings of this poster and that they can be distinguished by the
presence of small, faint green lines that extend for the image to
the top of the poster along the left hand side. While it may be
true that there were 2 printings of this poster, (having not been
there, I cannot say for certain anyway). This is simply not a
satisfactory explanation of these lines or their origins or
differences in a "printing". The more likely explanation is this -
When these posters were being printed, sometimes the image would
be "offset" and in fact, this is what probably happened here. The
lines simply "ghosted" here; the printer, to fix this recurring
and normal happening simply wipe down the plate so that, presto,
the "ghosted" lines simply disappear. Furthermore, this argument
is what happened when I examined a bunch of these posters from the
same pack - low and behold, when found, the posters exhibited
varying ghosting and posters with the absence of ghosting all
within the same bundle. Because of these reasons, I am not going
to separate these out. If you win the bid for one of these it
might or might not have the "ghosted lines". If you insist that
only the poster with out these offending lines is the first, don't
bid on this one first, where you might or might not get it. Buy
instead from someone else (who by the way most likely got it form
me anyway). Phil"

Mr. Cushway's error in quoting my Guide and describing the
signifier as "green lines" rather than red ones can be overlooked,
but his failure to address the real difference between the two
printings, the substantial differences in all the colors,
indicates he has not seriously contested the validity of my
assertion that there are two printings of FD-66. Since differences
in color are not useful distinctions when a person using my Guide
has only one item available, because verbal descriptions of such
color distinctions are not possible, it is necessary to look for
specific markings; plate scratches, ghosting etc. which appear on
one printing and not another. These marks are not evidence of more
than one printing, and Mr. Cushway's challenge to their use as
signifiers is a challenge to a strawman, apparently successful but
proving nothing. What
makes it clear that there were two printings of this poster is
that there are clear and distinct groupings of these posters which
can be separated consistently and reliably by colors. Not only can
they be separated by colors, there are no gradations of color
running between the two as there are, for example, on FD-68 in
which case it was necessary to designate all copies as originals.
Further clarifying the distinction between the two printings is
the fact that all known postcards including mailers sent out by
the Family Dog before the FD-66 concert match one of the color
groupings, and no known postcards match the other. Although it is
very difficult to prove the negative "The Family Dog never
reprinted postcards," the printing records which are widely
distributed among the scholars of this material make no reference
to the reprinting of
postcards, and all known reprint plates are of posters printed two
side-by-side without postcards.

Furthermore Mr. Cushway's assertion that he has packages of these
posters which include copies with no ghosting next to ones with
ghosting (with the faint red lines), does not prove his contention
that my Guide is incorrect. His original source of supply was the
vast inventory of Ben Friedman's Postermat. Friedman was notorious
for mixing piles of posters. When he, Friedman, bought the Family
Dog inventory in the late 1960s, this inventory included large
numbers of both originals and reprints which were already
intermingled. Friedman further added to this chaos by putting all
posters of a given number on the same rack in his warehouse which
I toured on a number of occasions as early as the early 1970s.

Put simply, there are no known copies of the darker red version
of FD-66 which have the red lines. If there are versions of the
lighter red without them, it will not make them originals or make
the printings indistinguishable. It would just mean I will have to
use a different signifier to tell the printings apart. Those who
are unsure about the use of the red lines can always refer to
color tones on copies of postcards, something I already suggested
as a backup in the last edition of my Guide, or they can employ
the small dot in the left margin two inches down from where the
chair touches the left border, the signifier used by Jacaeber
Kastor of Psychedelic Solution who agrees with me that there are
two readily distinguishable printings of FD-66, one known to be an
original, one known to be a reprint.

This all being the case, I believe I have demonstrated to the
satisfaction of a reasonable person that there are two printings
of FD-66, that the ones without the ghosting, the faint vertical
red lines described in my Guide, are the originals and that the
ones with the ghosting are the reprints.

Change FD-67-OP-1 to read: On the original there is no left margin.
The poster has been trimmed to the inner black border. In 2015 I
encountered a copy of FD-67 which had not been trimmed
to the left
edge black border. I looked for another way to distinguish the
original from the reprint and discovered that on the reverse in the
upper left corner of the
original
there is a 3/16" long horizontal line 3/8" down from the top. This
is a remnant of a printer's bull's eye from the backprint which was
for postcard backs
which only
were printed on originals.
Change FD-67-RP-2 to read: There is a brown left border on the
reprint. The horizontal line described under FD-71-OP-1 does not
appear on FD-71-RP-2.

Under FD-68 change the text to read:
FD-68-OP-1 Although in 2001 Phil Cushway, owner of
Artrock, convinced me that all the variants of FD-68 poster were
part of one printing, in 2009 I decided to revisit
this image for a number of reasons. Based on new
evidence, I concluded that there actually were at least two
printings of this poster. The original can be distinguished from the
reprint by the absence of the 1/16” dark blue dot described under
FD-68-RP-2. There is a great deal of color variation on the
originals of this poster. 14 1/64” x 20 9/32”
FD-68-RP-2 When this poster is held vertically
with the green border to the left, there is a 1/16” dark blue dot
located in the third pink line from the left about 3/8” up from the
bottom edge. This is the pink line between and below the “C” and the
“O” in “Concert.” 13 61/64” x 20”
FD-68-OPC-A All postcards match the variants of
FD-68-OP-1. This card has a “place stamp here” reverse. 4 7/8”
x 7”
FD-68-OPC-B This card has a bulk rate permit
reverse. 4 59/64” x 7 1/64”
FD-68-OPC-C Some copies of FD-68-OPC-B were
mechanically addressed and sent to people on the mailing list.
FD-68-RHB-D In 2001 the San Diego Museum of Art used
this image for a ticket sized handbill promoting a show of
psychedelic posters. 2” x 6”

F. D. 68 Avalon Ballroom

This poster is red, green, blue and white. The central image is a
Yin Yang symbol formed by
the lettering.

In 2009 what led me to study further the possibility of two
printings for this poster is that I noticed
that although there was a great deal of color variation in one group
of these posters, there was
another group which had no variation at all. All the colors were
consistent, and none of this
group matched postcards. This separate group also was cut
substantially smaller. In 2001 I had
disregarded this and assumed that the cutter had been adjusted
during the press run. This was
incorrect.

After looking at the group which varied a lot in color and finding
common printing
zits among them that did not appear on the second group as well as
finding several plate marks
on one group and not on the other group as well as noting that the
group that I eventually deter
mined was a reprint was on a substantially different paper stock, I
concluded that there were
two printings printed with two different sets of printing plates.

Under FD-68 add

FD-68-RHB-D In 2001 the San Diego Museum of Art used this image
for a handbill promoting
a show of psychedelic posters. 2" x 6"

Under FD-70 notes add:
It should be noted that the poster and card are not identical. The
card is a mirror image of the poster.

Under FD-71 change the date to read "7/13-16/67."

Change FD-71-OP-1 to read: The original measures c. 13 27/32" x 21
7/8". This is about 1/2" longer than the reprint. In 2015 I
discovered that on the reverse of the original printing of
FD-71 there is
a 3/16" long horizontal line on the left edge 3/16" down from the
top. This is a remnant of a printer's bull's eye from the
backprint which was
for
postcard backs which only were printed on originals.
Change FD-71-RP-2 to read: The reprint measures c. 13 7/8" x 21
3/8". This is about 1/2" shorter than the original. The length is
the distinguishing characteristic. The horizontal line
described
under FD-71-OP-1 does not appear on FD-71-RP-2
Change FD-71-OPC-A to read: The postcards match FD-71-OP-1 which
is slightly different in color from the reprint.

Under FD-72 change the posters section to read:

FD-72-OP-1 The original has the ticket outlets strip in
black and the image drawing in black and shades of gray. The dot
described under FD-72-RP-3 does not appear. Colors match the card.
14" x 20 1/32"

FD-72-RP-2 This reprint has the ticket outlets strip and
image drawing in shades of green.
The dot described under FD-72-RP-3 does not appear. 13 63/64" x 20
1/8"

FD-72-RP-3 This reprint has a 1/32" dot, black over red,
located near the top of the loop between the "U" and the "L" of
"JULY" just to the right of the top center of the poster. Colors
do not match the card. 14" x 20 1/16"

Under FD-73 change the date to read "7/27-30/67."

Under FD-74 under acts delete "Tripping West to East."

After FD-78-RP-2 add

FD-78-RP-3

This variant is substantially darker blue than
FD-78-RP-2. Unlike FD-78-OP-1 and FD-78-RP-2 which are on
uncoated index this variant is on semi glossy stock.

Under FD-78 notes add
In 2002 Mark Forer informed me that the origin of this image is a
statue, Descending Night, which was part of an elaborate system of
fountains at the 1915 San Francisco
Panama Pacific Exhibition. The creator of this sculpture is Adolph
Weinman, a famous early Twentieth Century sculptor whose other works
include the United States Mercury Head Dime and Liberty Walking Half
Dollar.
In 2005 Mark Forer added further to our knowledge of the origin of
this image by informing

me
that the model who posed for it, Audrey Munson (1891-1996), was no
ordinary model. She

was one of the great beauties of the day. She was the
chief model of the Panama Pacific Interna-

tional Exhibition. She posed for three
quarters of the sculptures at that event and also for numerous murals and paintings there. She
later had a movie career, and she was involved in a major scandal when a new York doctor
murdered his wife in hopes of marrying her. He later

hanged himself in prison while waiting
to be executed. This murder, in which she was not involved, led to the end of her movie
career. There are numerous other famous sculptures of her,

many in New York where she lived for a
time, including “Civic Fame” on top of City Hall. She

is often described as America’s first
super model. Unfortunately she eventually became paranoid and was committed to a mental
hospital where she spent the last 65 years of her life. It all

sounds very modern.

Under FD-78 artists add “Adolph Weinman”

Under FD-78 add
FD-78-PP-4 In 2006 I was
shown a videotape of an episode of the television series Nash
Bridges. In the episode Don Johnson/Nash Bridges goes to the
offices of a music industry executive. Clearly
visible on the office wall is a version of FD-78. This version is
at least 2’ x 3’. This is much larger than any authorized
copy of this image. I have never seen a copy of
this item in person, but it clearly exists. I would appreciate it
greatly if anyone who owns a copy of this
version would show it to me.

Under FD-81 Under "Paul Kagan" add: "(Photographer)."

Under FD-81-OP-1 change "only once" to "twice" and add "On the
original the white of "Moscoso" and the ticket outlet strip is
even and unbroken."

After FD-81-OP-1 add:

"FD-81-RP-2

On the reprint the white of "Moscoso" and the right
quarter of the ticket outlets strip is almost completely
eliminated where the background is orange."

FD-81-RP-3

This variant has the same ticket outlets markings as
FD-81-RP-2 , but unlike FD-81-OP-1 and FD-81-RP-2 which
are on uncoated index this variant is on semi glossy
stock.

After FD-81-RP-3 add:
FD-81-PP-4 In 2004 an unauthorized use of this
image was made by someone who produced what they called a “Giclee”
print. It was substantially larger than a
standard size Family Dog poster, and a white border was added.
Colors
were
somewhat paler than the legitimate versions. It is unknown how many
of these were produced before they
were ordered to cease and
desist by the copyright holder. 17 7/8” x 24 1/64”

After FD-82-OP-1 add

FD-82-OP-2

Some copies were printed with a Denver ticket outlets
strip. These add "Grateful Dead" in large letters across
the forehead of the skull. This lettering was done by John
Chic.

Change "FD-82-RP-2" to "FD-82-RP-3."

Change posters under FD-83 to read
FD-83-OP-1 This poster was printed twice.
The stock on which this poster is printed has a rows or “woven”
texture on the back. 14” x 20 1/16”
FD-83-RP-2 It has long been known from printing
records that FD-83 was printed twice, but no one knew what the
reprint looked like because it was one that was not distributed
through the
standard Family Dog channels. It was a reprint shipped directly from
the printer to a record company for distribution to record stores
around the country. In 2005 a copy of this
reprint was finally
identified. After studying the two versions side by side, I could
find no printing marks which distinguished the one from the other.
Colors were subtly different.
The
orange
is
the
most
distinctly
different.
The
reprint
orange
has
much
more
red
in
it
than
that
of
the
original.
Unfortunately
that
would
not
enable
someone
with
only
one
item
to
identify
it.
Fortunately
the
paper
stocks
are
different.
The
reprint
was
printed
on
stock
which
has
a
random
texture
on
the
back.
The
original
has
a
rows
or
“woven”
texture
on
the
back. 14 1/64” x 20 3/64”

Add to FD-84(D-4)-OP-1 "The reprint was distinguished from the
original in 1999. See
FD-84(D-4)-RP-2."

Change FD-84(D-4)-RP-2 to read:

"FD-84(D-4)-RP-2 In 1999 the reprint was distinguished
from the original. The reprint has a 1/64" dot made up of both
dark pink and light blue located 3/8" in from the edge of the
white background circle at about three o’clock. There are other
similar flaws, and colors are subtly different, but this dot on
the reprint which is not on the original is the best
distinguishing factor."

Add to FD-84(D-4)-OPC-A "printed in black."

Add to FD-84(D-4)-OPC-B "printed in rust/red."

After FD-85-OPC-C add: In 2014 a pirate/bootleg
version of this card was discovered. It is easily
identified because the back is blank, but it also is on stock
different from the
index used for the lawful printing. This stock is slick and
glossy. It is .010”
thick. It is easy to determine
this is a modern printing because when the colors
are viewed under 10x
magnification, it is clear the color is not even, rolled on
ink but tiny dots of sprayed on ink which is a characteristic of
digital printing.
5” x 7 1/64”

Under FD-89 under artist add "Mouse *."

At the bottom of the page add:

*In 1999 Stanley Mouse told Mark Powers he had
created the second panel from the right in the bottom row. He
signed his poster but did so as small as he could. "

Change FD-89 posters to read:

FD-89-OP-1 In 2001 Jacaeber Kastor of
Psychedelic Solution along with his assistant , Brad Kelly,
determined that this poster was printed twice. The original does
not have either of the scratches listed under FD-89-RP-2 and
FD-89-RP-3. 14 15/64" x 20"

FD-89-RP-2 The second printing was printed two
up on double sized sheets. The two are not identical but were
printed at the same time. Both FD-89-RP-2 and FD-89-RP-3 have
a c. 3/4" long faint scratch running diagonally up toward the
upper right corner beginning 3/8" above the "T" in "Concert"
at the top. This item does not have the additional scratch
described
under
FD-89-RP-3. 14 1/64" x 20 63/64"

FD-89-RP-3 This item also has a c. 1 9/16" long
scratch located in the panel with the chain and hook hoisting
the Family Dog logo. It begins about 3/16" in from the left
margin of the panel and extends obliquely upward and slightly
to the right. 14" x 20 63/64"

After FD-89-OPC-C add: In 2014 a
pirate/bootleg version of this card was discovered. It is easily
identified because the back is blank, but it also is on stock
different from the
index used for the lawful printing. This stock is slick and
glossy. It is .010”
thick. It is easy to determine this is a modern printing because
when the colors
are viewed under 10x
magnification, it is clear the color is not even, rolled on
ink but tiny dots of sprayed on ink which is a characteristic of
digital printing.
5” x 7 1/64”

Add to FD-90-OPC-A "printed in rust."

Add to FD-90-OPC-B "printed in black."

After FD-90-OPC-C add

"FD-90-OPC-D This card has a "place
stamp here" reverse printed in black."

Under FD-92 change posters to read:
FD-92-OP-1 In 2004 it was discovered that this
poster was printed twice. The clear evidence of this is the
existence of a photograph showing a printer‘s proof sheet of this
poster printed two up side by side. All originals from this period
except FD-98 and FD-99 were printed on sheets with the
postcards. Reprints were printed two up side by side. After
careful study of numerous copies, it was learned that the original
has neither of the markings described under FD-92-RP-2 or
FD-92-RP-3. Furthermore the cards were printed on stock which has
“rows” or “woven” texture on the back. The original printing of
this poster can also be identified by this type of stock markings
on the back. 14 1/32” x 20 11/64”
FD-92-RP-2 The reprint was
printed two up, and it is possible to distinguish two different
versions of the reprint. These are the left and right sides of the
sheet, but it is not yet known which is the left and which is the
right. Both of these are on stock which does not have “rows” or
“woven” texture on the back. Both of these versions of the reprint
are clearly identifiable by an irregular fine line which surrounds
the Family Dog logo. This appears to be tape edge markings from
where the logo was attached to the original artwork. This version
does not have the small dot described under FD-92-RP-3. 13 31/32”
x 19 31/32”
FD-92-RP-3 In addition to the irregular fine
line surrounding the Family Dog logo this version of the reprint
has a 1/32” long vertical purple dot/line in the right margin
located 5/32” to the right of the right margin slightly below the
level of the top of the “7” in “17” located in the lower right
portion of the image.
14” x 19 15/16”

Under FD-96 under artist delete "Kelley."

Add to FD-96-OPC-A "printed in black."

Add to FD-96-OPC-B "printed in blue."

After FD-96-OPC-C add

"FD-96-OPC-D This card has a place stamp
here reverse printed in dark pink."

Under FD-98 change FD-98-OP-1 to read:

"This poster was not printed only once as previously had been
thought..."

Under FD-98 after "FD-98-OP-1" add:

"FD-98-RP-2

In 1997 a reprint was discovered on uncoated index. This
stock is a different index, a bit shinier, than the one
the card is printed on."

Under FD-99 after "FD-99-OP-1" add:

"FD-99-RP-2

In 1997 a reprint was discovered on uncoated index. This
stock is a different index, a bit shinier, than the one
the card is printed on."

Under FD-99 change FD-99-OP-1 to read:

"This poster was not printed only once as previously had been
thought..."

Under FD-100 Acts delete “Blue Cheer.”

This entry replaces any previous FD-101 entry.

FD-101

Eternal Reservoir
(or the Source)

1/12-14/68

Avalon Ballroom

Rick Griffin

Quicksilver Messenger Service
Kaleidoscope
Charley Musselwhite

The following text represents a complete revision of FD-101. It
is not that the previous text
was wrong, only that it was confusing and inadequate. I apologize
for any inconvenience this
may have caused.

FD-101-OP-1 Reasonably conclusive evidence
points in the direction that this poster was
printed two times in the 1960‘s. The
original is on stock which has a woven pattern on
the back. See FD-101-OP-5. This is described as
“rows” by Jacaeber Kastor of Psychedelic
Solution. If the “woven” back is held at the
correct angle to bright light, the “rows” or
“threads” appear. The back of the
postcard matches this texture except for
FD-101-OP-5. 14 1/64” x 20 5/64”

FD-101-RP-2 The reprint has a glossy back with
no rows pattern. If the front of this
printing is viewed at the correct angle under
bright light, a rows or woven pattern will
appear. No postcards of this variant are known.
13 63/64” x 19 15/16”

FD-101-RP-3 In 1976 Rick Griffin printed
copies of this image in double the standard
poster size to distribute at a show in
England. These posters have a printed numbered
notation that they are for this show. 20 3/8” x
29”

FD-101-RP-4 In 1990
Pyramid Books in England printed this image. Paper stock is
thick and high gloss. The top 1” of the image
is missing. It had been thought that this
was a pirate, but in 1997 it was learned that
this was a properly licensed reprint. 11
57/64” x 16 17/32”

FD-101-OP-5 A small number
of copies of this poster exist which do not have a rows or
woven texture on either side. These copies are
not a bright black as are the others,
either originals or reprints. These are
originals. 14” x 20 3/32”
The author of this guide would like to
acquire a copy of FD-101-OP-5.

FD-101-OPC-A This card has a “place stamp
here” reverse. The back has a rows or
woven texture which matches FD-101-OP-1. 5” x 6
63/64”

FD-101-OPC-B This card has a bulk rate permit
reverse. The back has a rows or woven
texture which matches FD-101-OP-1. 5” x 7 1/64”

FD-101-OPC-C Some copies of FD-101-OPC-B were
mechanically addressed and sent to
people on the mailing list.

FD-101-RPC-D In 1989 this postcard was
reprinted in Italy on glossy stock. some detail
is lost. “Rockin Umbria” appears on the
reverse.

FD-101-OPC-E This card has a
bulk mail permit back which does not have a rows or
woven texture, nor does it have that texture on
the front. It matches FD-101-OP-5.
At this point in 2003 no copies of this
card with a place stamp here square are known.
Apparently these were produced early in the run
and only have bulk mail backs which
traditionally were printed first.

FD-101-OPC-F Some copies
of FD-101-OPC-E were mechanically addressed and sent
to people on the mailing list.
The author of this guide would like to
acquire a copy of either FD-101-OPC-E or
FD-101-OPC-F.

F. D.101 Eternal Reservoir (or the Source)

This poster is several shades of blue, several shades of yellow,
green and orange on a black
background. The central image is a heart shaped design with roots
descending into the ground
below and branches rising into the air. There is an opening in the
heart from which flow two
streams of orange liquid. Immediately upon seeing this image,
viewers recognize Griffin's
intention was to depict a living entity which he saw in his mind
and in his heart as both
growing from the soil and nourishing it. This is one of the most
profoundly biophilic of the
psychedelic images, and for this reason it has been popular from
the first day it was posted.
Griffin was a very complex man who, more than most people,
confronted a number of serious
conflicts about the nature of spiritual reality. On one side of
what he saw as the dual nature of
existence was the Old Testament "Jealous and Angry God" before
whom we have all given in
to temptation and on the other was the New Testament Savior who
stood between man and
the Old Testament God on Judgment Day. It is not surprising that
his most graphic
interpretations of both of these diametric opposites appeared
within only a few weeks of each
other. That Rick could see both the Eyeball of B.G. 105 and the
Source of F. D. 101 in his
mind's eye at the same time shows that not only was he going
through a period of intense
artistic fertility, he was also being torn between these two
polarities as he wrestled with
himself and sought to decide on his own personal answers to the
moral questions of existence
that all serious people must confront. Although Rick did choose to
accept Jesus as his
personal Savior, the conflict inherent in these two images, the
love of a nourishing, fleshly
world and the fear that this fleshly world was not nourishing and
that love of it could lead to
eternal damnation, troubled him for the rest of his life. He both
loved this life and feared that
by loving this life he would lose eternal life. Whatever the
eternal Answer might be, Rick
Griffin certainly turned his seeking for that Answer into great
art.

* Evidence: When it was noticed by Jim Northrup that the reprints
of this poster had a woven
or rows texture on the front, the possibility was raised that
these were originals which acciden
tally had been printed on the wrong sides of the sheets.
After considerable study of our various
copies, Jacaeber Kastor, the owner of Psychedelic Solution, and I
spoke on the phone for sever-
al hours. The conclusions we reached are represented by the
current text of FD-101.
First we noted that there were no known copies of an FD-101
postcard with a woven or rows
textured front. This did not mean that they did not exist,
but since Family Dog postcards and
original posters almost always were printed on the same sheets,
and Family Dog postcards
were not reprinted in the 1960’s, and there are a lot of copies
with the woven/rows front poster,
there should be a lot of woven front cards if these were
originals. We thought this was interest-
ing but not ample evidence to prove woven/rows front posters were
reprints. We started look-
ing for internal evidence, evidence from the posters and cards
themselves which would resolve
this one way or the other.
Second we looked at a printer’s proofsheet of the original to find
an open unprinted area. We
did this on the notion that if woven/rows front posters were
originals, the open unprinted area
of a printer’s proofsheet would match the paper stock of the back
of a woven/rows front poster.
After careful examination we determined that they did not match.
Both to the unaided eye and
under magnification they appeared to be different paper stocks.
The we examined them under
black light and found that they were drastically different in
appearance under black light.
Third we noted that the back of the original had a woven/rows
texture with lines that were more
vertical, and on the ones with the woven/rows front the lines were
more horizontal.
A person without access to a printer’s proofsheet can study this
by looking at the center of the
image of an original which has a small but significant white area
in the “sun” portion of the im-
age. When this is compared under black light or magnification (but
especially black light) to
the back of the reprint, they clearly are very different.
As for the discovery of FD-101-OP-5 this is documented by the fact
that Mr. Kastor has a copy
of this as a card, and I have a copy of it as a poster. Each of us
would like to acquire the one we
do not currently have. I had previously thought this was a unique
reprint, but the discovery of
Mr. Kastor’s matching card proves it is an original, albeit a
rather rare one. Under FD-104 change the date to read "2/2-4/68."

After FD-115-OPC-C add: In 2014 a pirate/bootleg version of
this card was discovered. It is easily
identified because the back is blank, but it also is on stock
different from the
index used for the lawful
printing. This stock is slick and glossy. It is .010”
thick. It is easy to determine
this is a modern printing because when the colors
are viewed under 10x magnification, it is clear the color is not
even, rolled on
ink but tiny dots of sprayed on ink which is a characteristic of
digital printing.
5” x 7 1/64”

After FD-116-OPC-C add
FD-116-PPC-D An Italian printing of this card on glossy
stock was done in 1989. “Rockin Umbria
appears on the reverse.

Under FD-117-OP-1 add "by the Family Dog."
After FD-117-OP-1 add "FD-117-RP-2 In 2008 the artist who
created this image in 1968 celebrated its 40th anniversary by
completely recreating the image and printing a limited edition of
100 copies. '1968/2008' is added next to 'Crome Syrcus.' 17 1/32"
x 23 49/64""

Under FD-118 change "Flamin’s" to "Flamin’"

Under FD-120 change posters to read:
FD-120-OP-1 This poster was printed lawfully only
once. 13 21/32" x 19 63/64"
FD-120-PP-2 In 2008 a pirate/bootleg of this
poster was printed, probably in Australia, and sold on ebay. This
poster was printed digitally on semi-gloss stock unlike the lawful
original
which was
printed on uncoated index. This bootleg can be distinguished by
the fact that the white area are not pure white but are filled
with small, colored dots.
14 3/32" x 21
7/64"

Under FD-125 under artist add "*L. Kent Hollister."

Under FD-125 add:

* The original Family Dog catalog listed "David Warren"
as the artist who created the artwork for FD-125. When I
communicated with Mr. Warren in 1979, he confirmed that he had
created this poster. Although I noticed that two different pens,
one much wider than the other, were used to create this design, I
gave it no further thought.
In the late 1980’s someone at a show gave me very credible
evidence that this design was a collaboration by two artists. I
called L. Kent Hollister at the phone number I had been given, and
it had been disconnected. I wrote to the address I had been given,
and the letter came back stamped "Not at This Address."
Over the years this continued to bother me because the evidence
for collaboration was significant and obvious. I did not like the
idea of depriving someone of credit in the guide, but without
being able to contact Mr. Hollister for confirmation, I could go
no further.
In early 2000 I came across the slip of paper with the old address
on it, and for some reason or other I decided to write to it
again. To my amazement I got an answer from Mr. Hollister who had
been there all along and had no idea why the letter had been
returned. I made an appointment and drove up to see him.
The details of the collaboration are simply that the central face
was drawn first by L. Kent Hollister who at the time was creating
portraits from photographs. The photograph used here was a
Victorian portrait of a young woman he had found in a book. He
gave the drawing to David Warren who drew the floral border and
lettering.
For those collectors who want the evidence besides the substantial
differences in style and the widths of the pens, Mr. Hollister
showed me several of his older drawings with similar cross
hatching. Although I did not know him in the 1960’s, he went to
concerts and did album cover work for Quicksilver. Also he knew
and worked with George Hunter,
but the clincher, so to speak, is his 1960’s logo/signature on the
piece. Look just to the right of the "N" in "Avalon" and amidst
the flowers a drawing of an eye is hidden. This is Mr. Hollister"s
signature. It is worth noting that the same eye signature appears
at the bottom center on the Carousel Ballroom Moby Grape handbill
for April 12 & 13, 1968, AOR#2.161, which was also created by
Mr. Hollister.

After FD-125-OPC-E add:

FD-125-OPC-F This card is of the FD-125 image only and
has a bulk mail permit reverse
4 5/8” x 7 21/32”

Under FD-128 change the date to read "7/19-21/68."

Under FD-130 add "Edward Curtis (Photographer)" and under notes
add "In 2015 Casey Simpson was interviewed about this image, and
she said the deck of cards was published by
Southern
Pacific Railroad, and the photographer was Edward Curtis."

Under FD-134 change the photographer to “Arnold Genthe” and
change the description to read:
“This poster is several shades of brown on a beige background. The
central image is a
photograph of a woman wearing a long, flowing gown. She has her
arms raised straight above
her head. The photograph is an early 20th-century photograph by
Arnold Genthe. Over the
years I had been told several times that the partially legible
photographers credit read “Zenthe.“
This is incorrect. The photographer was named Arnold Genthe
(1869-1942). I was repeatedly
told that the woman in the photograph is Isadora Duncan, a dancer
who was very famous in the
early Twentiethth-century. It is not. The woman in the photograph
is Anna Pavlova from a pho-
tograph taken Nov. 8, 1915. Pavlova also was a very famous dancer
in the early 20th Century.
The card for this image and No. 133 were printed as a pair.”

Under FD-135 after FD-136-OPC-D add
FD-136-OPC- E In 2010 a blank backed version of this card was
discovered. 4 49/64" x 6 1/2"

Under FD-137 add

FD-137-RPC-E In 1971 Tea Lautrec Litho printed the image
photograph without the concert information as a postcard. "Ride
this Train" appears on the reverse.

Under FD-139 add

FD-139-RPC-E In 1971Tea Lautrec Litho printed the image
photograph without the concert information as a postcard. "Holy
City Service" appears on the reverse.
FD-139-OPC-F In 2010 a blank backed version of this card was
discovered. 6 35/ 64" x 4 39/64"

After FD-142-OPC-D add

"FD-141-OPC-E This card is of only the FD-141 image. It
has a blank reverse."

Under FD-142-PP-2 change "Befheart" to "Beafheart."

After FD-142-PP-2 add

FD-142-PP-3

In 1999 yet another pirate printing of this image was
discovered. Although
it does
not bear the "San Francisco Poster Co." credit, the dot
screen pattern is very similar to FD-142-PP-2.
The correct acts appear on the bill.

After FD-146-OPC-D add:

FD-146-OPC-E In 1999 it was discovered that blank
back single copies of this card also were distributed.

Under FD-D5 Change the text of posters for FD-D5 to read
FD-D5-OP-1 In 2011 it was discovered that this
poster was printed three times. The original
does not have the dot described under both reprints. 13 61/64” x 19
31/64”
FD-D5-RP-2 The first reprint, the more common one,
FD-D5-RP-2, is on stock which is
smooth on both sides. It has a small 1/64” dot in the gray top
margin about 1/8” above the left side of the “O” in “Oct.” It is
much shorter than the second
reprint, the uncommon one, FD-D5-RP-3. 14” x 18 61/64”
FD-D5-RP-3 The second reprint, the less common
one, also has the dot described under
FD-D5-RP-2. This reprint is on stock which has a rows or woven
pattern on
the front. It is much longer than FD-D5-RP-2. The best way to tell
them apart
is by measuring the length. 13 15/16” x 20 1/16”
See notes.

Change the notes for FD-D5 to read:
F. D.-D. 5 Kitty

This poster is several shades of purple, several shades of magenta,
several shades of pink,
black, and white in a gray frame. The central image is a photograph
of the face of a cat. A
distorted grid has been superimposed over parts of the face of the
cat.
The printing records of California Litho Plate, the printer for the
Family Dog at this time, show
that this was one of several posters printed in a 5,000 press run
which was shipped directly from
the printer to Capitol Records for distribution to record stores
around the country. Since the
newly discovered FD-D5-RP-3 clearly is a separate printing from
FD-D5-RP-2 because the cut
size is so different and the stock also is different, and it is very
unlikely this poster was printed
four times, it is logical to assume that FD-D5-RP-3 is the missing
printing which was shipped
directly to Capitol Records.
*
* *

AfterFD-D5-OPC-C add
FD-D5-PPC-D An Italian printing of this card on glossy
stock was done in 1989. “Rockin Umbria”
appears on the reverse.

Under FD-D7 change posters to read:

FD-D7-OP-1 This poster was printed twice. The original
has lettering which is brownish green which matches the postcard.
14" x 20 1/16"

FD-D7-RP-2 The reprint has lettering which is gold. This is
distinctly different from the card which is brownish green. This
version is on somewhat glossy/ slick stock. 14 1/16" x 19 61/64"

FD-D7-RP-3 This reprint has lettering which is also gold in
tone. It is from the same press run as FD-D7-RP-2, but it is on
uncoated index. 14 1/32" x 19 61/64"

At the end of FD-D-7 add: *Another commentator on
this material had claimed that all copies of FD-D-7, both brownish
green and gold lettering were originals. Although no one ever
had
seen postcards with gold
lettering, some still believed all were originals. In 2015 I saw
conclusive proof that only brownish green lettering versions are
originals and
that gold lettering versions are reprints. I saw a reprint proof
sheet with a gold lettering version of FD-D-7 alongside a copy of
FD-79 (FD-D-1). Not only were there
no postcards, the dates of these shows were much too farapart for
them to have both been printed before the show. They simply did not
know who would be on the
bill for FD-D-7 six weeks in advance.

Add to FD-D-13-OPC-A "printed in lavender."

Add to FD-D-13-OPC-B "printed in lavender."

After FD-D-13-OPC-D add

FD-D-13-OPC-D

This number reserved for future use.

FD-D-13-OPC-E

This card has a bulk mail permit reverse printed in
gray.

FD-D-13-OPC-F

Some copies of FD-D-13-OPC-E were mechanically addressed
and sent to people on the mailing list.

Under FD-D14-OPC-A add:

"printed in black" after "reverse."

Under FD-D14-OPC-B change "gray" to "light olive green."

Under FD-D14 after FD-D14-PPC-D add:

"FD-D14-OPC-E This card had a "place stamp here" reverse printed
in lavender."

Under FD-D15 add "Mouse" under "artist."

After FD-D15 add:

FD-D16
12/22&23/1967
1601 West Evans Street, Denver, CO
Bob Fried
The Otis Redding Show
A concert had been planned for the Family Dog Denver venue on the
weekend of
12/22&23/1967. It was to feature Otis Redding who unfortunately
died before the concert
which was canceled. This concert was to have been numbered FD-D16.
No posters or post
cards were distributed or printed prior to this intended concert.

In the mid 1970s after the sudden, untimely death of the artist Bob
Fried, I met with his widow,
Penelope Fried, to purchase signed copies of his Family Dog and Bill
Graham numbered post-
ers which were in her possession. At that time she showed me an
original artwork by her late
husband which had been created by him for the canceled FD-D16
concert. It was a very beauti-
ful artwork even in black and white, and I offered to purchase it
from her, but she did not want
to sell it. I have no idea what happened to this original artwork
after that. It did not occur to me
then that this artwork might have been photographed in preparations
for burning printing plates,
or that the film from this photography might still exist.

In the late 1980s Phil Cushway of Artrock acquired the archives of
the printer, California Litho
Plate, which had been the printer for the Family Dog in 1967.
Eventually he discovered film for
this poster in the large California Litho Plate archive. In the
1990s he constructed what he felt
was a likely color scheme for Fried’s original artwork. I do not
know if he ever saw the original
artwork which I saw in Penelope Fried’s possession in the late
1970s, but the artwork did in-
clude a color key of Fried’s intentions for the poster. All I
remember of the color key was that
orange, a favorite color of Fried’s for his Family Dog artwork, was
on the color key, and red
with some orange in it is a prominent color of this image. My only
quibble with Cushways’s
interpretation of Fried’s original design from the film is that I
doubt Fried would have left a
substantial white area at the top.

Cushway/Artrock never made a significant attempt to sell posters
from this very limited edition
printing of FD-D16 almost all of which passed into the hands of
Wolfgangs Vault when the
Vault purchased almost all the inventory of Artrock in the mid
2000s. Since the Vault is now
selling copies from this limited edition of uncut printer’s proofs,
it is now appropriate to include
this image in this Guide. The copies the Vault is now selling are
numbered 1 through 35.

Since it was not printed before the event with the intention of
distribution to promote the con-
certs, this item can not reasonably be called an original printing,
but since it never was printed
prior to this edition, it can not be described as a reprint either,
so I simple designate it
FD-D16-P-1 (“P” for “Poster”). No postcards were printed.

While it would be difficult to argue that a copy of this poster is
necessary for a complete set of numbered, original Family Dog
posters, I think it would be an attractive addition to a complete
set as well as an interesting piece of decor to hang in ones home or
office.

Change posters under FD-D18 to read:
FD-D18-OP-1 This poster exists in three
variants. In 2014 the issue of which of these variants is an
original and which is a reprint was revisited. This, the purple
variant, has a red triangle in the upper left corner as background
for the Family Dog logo. It is the only original. See essay at the
end of this
item.
12 45/64” x 21 33/64”
FD-D18-RP-2 This, the dark blue
variant, has a black triangle in the upper left corner as back
ground for the Family Dog logo. Both black triangle variants
are reprints. See
essay at the end of this item. FD-D18-OP-1 and FD-D18-RP-2 have
image
backgrounds of blue/purple which are so different in tone that
simply less
ink on the plate could not account for the difference. This
variant is on
non
reflective index. A small but not inconsequential number of copies
of this
printing were miscut by the operator of the guillotine so that the
top edge is
oblique with the right edge about 1/2” shorter than the left. 12
21/32” x 21 3/4”
FD-D18-RP-3 In 1999 a black triangle version on
semi glossy stock was discovered. This version is a substantially
darker blue/purple than FD-D18-OP-1 or FD-D18-RP-2. It was
discovered along with previously unknown similar semi glossy stock
versions of FD-52, FD-64, FD-78 and FD-81 all of which were
clearly reprints. It, too, is a reprint. 12 41/64” x 21 3/4”

Change FD-D-18-?PC-D to read

"FD-D-18-OPC-D This card has no light blue stripe in the
right margin. It has a "place stamp here" reverse printed in the
same light blue as the doorway."

Under FD-D-18-OPC-A delete "…is…6 31/32""

Under FD-D-18-OPC-B delete "the… OPC-A" and "It measures… 6
31/32""

Change "FD-D-18-?PC-D" to "FD-D-18-OPC-D" and delete "is the
same…?P-2" and "It measures… 6 31/32"" and "The existence… in this
case."

After FD-D-18-OPC-D add

FD-D-18-OPC-E

This card has no light blue strip in the right margin
and has a bulk mail permit
reverse printed in the same light blue as the doorway.

FD-D-18-OPC-F

Some copies of FD-D-18-OPC-E were mechanically addressed
and sent to People on the mailing list.

Delete "Further confusing… bright light."

Change "FD-86" to FD-109."

Delete "over three months… FD-86" and replace with "well before
FD-109."

After FD-D-18-OPC-F add

FD-D-18-OPC-G

This card has no light blue stripe in the right margin.
It has a "place stamp here" reverse printed in black. It
is wider than the other cards and similar in width to
FD-D-18-OPC-D.

FD-D-18-OPC-H

The discovery of FD-D-18-OPC-G in 2000 leads me to
believe there is
a
narrower version of FD-D-18-OPC-D (no blue stripe but with
a blue imprint "place
stamp here" reverse) with dimensions similar to
FD-D-18-OPC-A. Time will tell...
Add to this section, "A copy of this variant was showed to
me in 2009."

Also under FD-D18 under * delete the entire section following the
* and replace it with:
* Previously in this space there was a long
essay about the colors of the various printings of
FD-D18 and what they might show about whether the black triangle
versions of FD-D18 were
originals or reprints. This material has been eliminated
because it has now been proved that
black triangle versions of FD-D18 are reprints. See FD-D18-RP-2.

At the end of FD-D18 add:
. A printer's proof exists with the red
triangle poster and six postcards. Printing records of the
Family Dog from California Litho plate and Tea Lautrec Litho
clearly indicate no postcards were reprinted, so red triangle is
an original.
In 2014 the author of this Guide revisited the issue of whether
black triangle versions
of FD-D18 were originals or reprints. He was assisted in this
research by Grant Feichtmeier of
Wolfgangs Vault and Mike Storeim of Classic Posters.

The following facts were determined from examination of a large
number of posters and post-
cards and several printer’s proof sheets. The red triangle version
poster was printed on three
very distinct, different paper stocks. The postcards also were
printed on these same three differ-
ent stocks. Although these stocks appear the same to the naked
eye, under black light they ap-
pear very different. The black triangle versions, both FD-D18-RP-2
and FD-D18-RP-3, are on
stocks which also are very distinctly different from each other
and from the three paper stocks
of FD-D18-OP-1. There are no postcards on either of the two stocks
on which FD-D18-RP-2
and FD-D18-RP-3 appear. If either of these were originals, there
would be postcards on these
stocks because all the original cards done by California Litho
Plate except for the odd sized
FD-98 and FD-99 were printed on the same double sheets as the
original posters, one poster on
the left and four or six postcards on the right.

It was also noted that the cutter trimmed red triangle at the
bottom right up to the bottom of the
ticket outlets strip. The cutter trimming black triangle versions
trimmed them substantially
below the ticket outlets strip. On black triangle versions below
the ticket outlets strip there is a
white spot with small amounts of red and blue within the spot. On
all known uncut proof sheets
of red triangle the color ends immediately below the ticket
outlets strip, that is, the area below
the ticket outlets strip is all white. This is why the red
triangle posters were cut so close to the
ticket outlets strip at the bottom. If they had been cut any lower
there would have been a white
strip all across the bottom. The white spot which appears at the
bottom of black triangle
could not possibly have been at the bottom of red triangle if it
had been cut longer because the
entire area on the proof sheets is white. This is clear evidence
that red triangle and black
triangle were printed with different printing plates, further
evidence that black triangle was
printed separately.

In 2015 the ultimate piece of evidence in this discussion
appeared. I saw a proof sheet of
FD-D-18 printed two up with a copy of FD-101. These obviously were
reprints because they
were printed as a pair without postcards. This copy of FD-D-18 had
the black triangle.

Under FD-I-OHB-A add: In 2011 a forgery dating from the 1970s was
discovered. The distinguishing characteristic of this forgery is
the vertical measurement of the distance along the right
margin from the outside edge of the horizontal
black line at the top edge of the image to the outside edge of the
horizontal line at the bottom. This measurement on
genuine copies is 10 5/32" plus or minus
1/64."

After FD-I-OHB-E add:
FD-I-RHB-F In 2005 Perry Pfeffer in
conjunction with the late Chet Helms, Kelley and
George Hunter arranged for a hand done
silkscreen reprint of Family Dog handbills I, II, III and IV.
These were printed four to a sheet, one of each on a sheet. The
stock used was high quality smooth, but not glossy stock .0090”
thick. This is readily distinguished from the original
handbills which are on stock less than .0060” thick. The reprint
stock is ecru/off white in color. 265 sheets were printed. 65
uncut sheets were signed by Helms, Kelley and Hunter. 100 uncut
sheets were unsigned. 100 sheets were cut in quarters. The
cut handbills were not signed. This item is the single reprint
handbill of FD-I.
10 1/64” x 13”
FD-I-IV-RP-4 This item is the uncut sheet
described under FD-I-RHB-F. Because of its size
it is numbered as a poster. 24”x 31”

After FD-I-IV-RP-4 add: FD-I-FHB-G In
2011 a forgery of this handbill was discovered. It appears to date
from the early to mid 1970s. The stock of paper used was somewhat
more porous
and coarse than genuine originals,
and slight detail is lost, but the best way to distinguish this
forgery is the measurement described under
FD-I-OHB-A. On the forgery this
measurement is 10 1/16." It is not possible to give the original
size of this forgery because the copy which was
discovered had been trimmed.

After FD-II-OHB-B add:
FD-II-RHB-C This item is the 2005 reprint. See
FD-I-RHB-F and FD-I-IV-RP-4.

After FD-III-OHB-A add:
FD-III-RHB-B This item is the 2005
reprint. See FD-I-RHB-F and FD-I-IV-RP-4.

After FD-IV-OHB-A add:
FD-IV-RHB-B This item is the 2005 reprint handbill. It
should be noted that although the silkscreen used to print these
items was made from the original 1965-1966 film, this reprint was
not nearly as clear and sharp as the original. The dot screen of
the reprint was much coarser than the dot screen of the original.
The reason for this is that the silkscreen process does not
produce as sharp an image as offset lithography printed with a
metal plate. See FD-I-RHB-F and FD-I-IV-RP-4.
FD-IV-FHB-C In 2005 at the TRPS swap meet I was
shown a forgery of this handbill which had been in the possession
of the person selling it since approximately 1975. It is important
to note that forging of this material was going on even as far
back as the middle 1970s. As with all such forgeries which are
produced by photographing an original and using the photograph to
produce a new printing plate, the resulting handbill is much
fuzzier, less clear than the original. The reason for this loss of
clarity, unlike the loss with the silkscreen process, is due to
the impossibility of producing a new plate from a genuine original
handbill that captures all the fine detail of the original. This
forgery is on stock with a very clear vertical rows/woven texture.
These rows are about 1/16” across and visible on both sides of the
stock. The original handbill is not on stock with rows/woven
texture. This stock is .0110” thick. The original is on stock less
than
.0060” thick. 8 31/64” x 11”
FD-IV-FHB-D In 2011 a forgery of this handbill turned up in
Europe. One thing that was clear
about this forgery was that it was quite old.
It was printed with a very early photocopy machine, probably in
the early 1970s. Since it is so old, it is impossible to say
whether this forgery was done in the U.S.A., possibly in the San
Francisco Bay Area, or in Europe. This specific copy had been sold
to its 2011 owner as a genuine original. This copy was printed on
very pale green paper. A lot of detail was lost, and the inking
was very uneven. There are lots of small white spots in the black
areas, particularly on the black colored jackets of three of the
five band members. These areas are even, uninterrupted black on
the original and the 2008 reprint. It is possible other forgeries
were printed at the same time on other colored papers so the key
thing to look out for is the uneven inking with lots of tiny white
spots. There also is a faint black horizontal line all across the
bottom and the top of this forgery about 1/8” in from the bottom
and top edges of the paper. 8 23/32” x 11 13/32”

After FD-IV-FHB-D add
FD-IV-OHB-E In 2014 I was shown a copy of this
handbill on substantially thicker stock than
the
more common version, FD-IV-OHB-A. It is .0090” thick. After very
careful examination it was determined that this newly discovered
variant was
printed with the correct original printing plate and is a genuine
original var-
iant printed before the event and distributed to promote it. Since
it is very
unlikely that this is a unique item, it is now being added to this
Guide and
assigned this designation number. The stock of this item is white,
not off
white. 8 47/64” x 11 17/64”

Change "Dr. Strange" to "Sparkle Plenty" both times.

Under FD-VI change "fakil" to "fakir."

Under FD-VII change handbills to read:
FD-VII-OHB-B This variant is black ink on tan
paper. There is a mid-1970s forgery of this handbill on an
orange/tan stock. On the legitimate original in the oval around
George’s face in the black area immediately to the viewer’s left
of George’s hair there should be at least a dozen narrow white
areas at least 1/16” long which are not quite horizontal but run
from left to right rising a bit as they move from left to
right. 8 1/2” x 10 63/64”
FD-VII-FHB-C On the forgery much detail is lost, and the
area mentioned under
FD-VII-OHB-B is almost completely black. This
item was originally created with the deliberate intention of
deceiving people into thinking it was a genuine
original as were the forgeries of handbills of
FD-1, FD-3, FD-6 and FD-12 which were all done by the same person.
8 33/64” x 11”

After FD-660226 add:

FD-660624

6/24&25/66
Avalon Ballroom

Dennis
Nolan
Big Brother & the Holding Company

FD-660624-OHB-A When I originally added the
unnumbered material to this Guide, I
accidentally failed to include this handbill
which definitely is a Family
Dog image. Chet Helms was managing Big Brother
& the Holding Company at this time, and he had Dennis Nolan
create a handbill with a blank
space in the center which could be used for
multiple events by having a
rubber stamp made with the location and dates
of the concerts. In this
case the words “AVALON BALLROOM” and the dates
“June 24 & 25”
were stamped in red. There is no poster size
version of this handbill, but
since this was an alternate handbill for the
FD-14 event, the other FD-14
material also is for this same concerts. See
also FD-660923.
5 31/64” x 8 1/2”

FD-660923

9/23&24/66
Avalon Ballroom

Dennis
Nolan
Big Brother & the Holding Company
Howlin’ Wolf

FD-660923-OHB-A When I originally added the
unnumbered material to this Guide, I
accidentally failed to include this handbill
which definitely is a Family
Dog image. Chet Helms was managing Big Brother
& the Holding Company at this time, and he had Dennis Nolan
create a handbill with a blank
space in the center which could be used for
multiple events by having a
rubber stamp made with the location and dates
of the concerts. In this
case Chet had printing in rust color added that
listed the Avalon Ballroom on September 23 & 24. It also said
that Big Brother had just returned from Chicago, and that Howlin’
Wolf would be
appearing with them. See also FD-660624. 5
33/64” x 8 17/32”

FD-661112
11/12/66
Campus Hall UC Irvine
Unknown
Oxford
Circle
Magnificent VII
FD-661112-OP-1 I had first seen this small
poster in the mid-1970s and concluded it was
a rip off usage of the Family Dog logo. In 2004 Joe Armstrong
asked
me about it, and I decided to
ask Chet who remembered it as an authorized
usage so it is now being added to the guide. 10 15/64” x 15
11/32”

Under FD-670002 Change OHB to OPC and change
"handbill" to "postcard." Add "This version has a place stamp
here back."
After FD-670002-OPC-A add "FD-670002-OPC-B This version
has a bulk mail permit back."

After FD-670004-OHB-A add:

FD-670004-OHB-B In 1999 a copy similar to FD-670004-OHB-A was
discovered printed on white paper.

Under FD-671123 add

FD-671123-OHB-D Some copies of
the card have a blank back.

FD-680221 and FD-680222
In 2014 I discovered that when I originally did this section of the
Guide, I transposed quite a bit of the information for these items.
The images in the Guide are labelled in the correct order.
The texts should now be changed to read:
FD-680221A

FD-680221B-OHB-A This item was printed only once.
The image is similar to the FD-680221A-OHB-A, but
they are not identical. Lee Michaels is deleted from the bill
on this variant. The reverse of
this item has the information for FD-680222 on the back. It is black
ink on yellow
paper. 7 11/16” x 13 61/64” See FD-680222 for reverse image.
FD-680221B-OHB-B In 2009 a copy of this two sided handbill was
found on salmon paper. See FD-680222 for reverse image.
FD-680221B-OHB-C In 2014 a variant was found printed in black
ink on white paper. See FD-680222 for reverse image.

FD-680221C-OHB-A In 2014 it was discovered that yet another
variant of this item exists.This variant has the
FD-680221B front and a blank reverse. The size is similar to others
from these two dates,
2/21&22/1968. 8 1/2” x 14”

FD-680222-OHB-A This
item was printed only once and measures c. 8 1/2" x 14". The
image is the 2/22 side of FD-680221B-OHB-A.
As of 2014 this image is only known to appear on the reverse of
FD-680221B. This variant is in black ink on yellow paper.
FD-680222-OHB-B This
variant is in black ink salmon paper.

Under FD-P-680223 after FD-P-2-680223-OHB-A
add:
*In 2011 Brad Kelly discovered a large (c.18”x 24”) black and white
photostatic reproduction of this item, almost certainly from the
original artwork. Since it was not in color, appeared to be
a photographic enlargement made directly from the original artwork,
never had been seen before by any of the major collectors of
Portland/Crystal Ballroom material, and came from the
estate of someone associated with concerts at the Crystal Ballroom,
for the time being it can be assumed that this is a unique item
probably done for display in the glass case in front of the
Crystal Ballroom itself.

It is not the policy of the author of this Guide to include items
which were not produced in quantity and distributed to promote the
concerts because this is a Guide to just such material:
posters, postcards and handbills originally printed in quantity
prior to the event with the intention of distribution to promote the
rock concerts or the same images printed in quantity after the
concerts to sell for profit. This is not such an item. The above
facts about it lead to the conclusion that it does not suit the
usual criteria for listing in this Guide, but since it was sold at
an auction in 2011, and a collector years from now may encounter it,
it is described here to avoid future confusion. If another copy
appears, it will be reasonable to assume that there was some very
limited distribution to promote the concerts listed on it, and it
will be assigned a number in this Guide.

It should be noted in passing that while I was doing research for
the above note, I was asked why I do not include in this Guide the
several handbills dating after P-4 which bear the appellation
“Crystal Dog” while I do include the five items done in Denver after
FD-D-18. The answer is that the people who put on the five post
FD-D-18 concerts at the 1601 West Evans venue were all former
employees of Chet Helms who specifically asked him if they could
attempt to continue the Family Dog series in Denver using the Family
Dog name. They told me Chet told them he did not care, and in the
1980s Chet specifically confirmed that to me. No such authorization
by Chet Helms, who at that time owned the dba “The Family Dog,”
exists for the Crystal Dog material. Since Chet was not associated
in any way with these later Portland concerts, not even to authorize
the use of his copyrighted logo or the use of the word “Dog,” there
is no reason to include them in a Guide to Family Dog material.

Under FD-680308B-OHB-A add "This variant is in purple ink on pale
blue paper."

After FD-680308B-OHB-A add
FD-680308B-OHB-B In 2013 a variant in purple ink on yellow paper was
discovered. 8 33/64" x 11"

In 1998 a handbill on coarse light blue paper was
discovered for this event which was a benefit for and
jointly put on with the Haight-Ashbury Medical Clinic. The
ink used was medium to dark blue. It measures 13 15/16" x
8 1/2". This handbill was printed only once.

Under FD-680528 change "Unknown" to "San Andreas Fault."

Under FD-680701 change the date to read "7/1/68."

After FD-681122B add

FD-681122C
11/22-24
Avalon Ballroom
Unknown
Sir
Douglas
Quintet
+ 2
Velvet Underground
Flaming Groovies
FD-681122C-OP-1 In 2010 a hand drawn poster was
discovered for an event at the Avalon Ballroom for the weekend
between FD-146 and FD-147. This was just prior to the Family Dog
losing the rights to
the Avalon Ballroom and temporarily going out of business, a time of
considerable chaos for the Family Dog. Presumably this weekend of
concerts
was booked too
late to have an artist create a design for a poster and bring it to
the printer so a hand drawn poster was created. After some
additional research I learned
that several other
copies of this hand drawn poster exist. Although they are not
identical to this one, they are very similar. This one was done on
the back of a copy of
FD-146-OP-1

Under FD-690704 add: In 2006 a ticket for the FD-690704 event was
discovered. It was designed by San Andreas Fault Studios.

Under FD-690718A add: In 2006 a ticket for the FD-690718A event
was discovered. It as designed by San Andreas Fault Studios.

After FD-690718B add

FD-690718C*

7/18-20/69

660 Great Highway

Baron Wolman
(Photographer)

Sir Douglas Quintet
Bicycle
Kwanditos

FD-690718C-PP-1
In 2002 notorious poster pirate from Austin, Texas
created this poster and fraudulently claimed that it was an
original
poster created in 1969 for the shows listed on FD-690718A
and
FD-690718B. He did so to cash in on the popularity of Doug
Sahm
of the Sir Douglas Quintet in the Austin area. This is not
a poster
created in 1969, but a 21st Century pirate. 13 57/64” x 19
7/64”

*One of the most insidious assaults upon poster collectors since
the mid 1990’s has been the
post facto creation of posters for events which actually took
place and sometimes even had
legitimate posters created to advertise them. The first one of
these I saw was one for the Rolling
Stones appearance at Altamont. Although the event took place in
1969, the picture was of a
Mick Jagger who was at least 40 years old. The seller on ebay
swore he had been at the event,
gotten the poster there and kept it under his bed ever since. In
general this kind of piracy has
not been that much of a problem with items in this Guide because
the copyright holders act-
ively defend their rights, and this is an infringement on the
Family Dog copyrighted logo, but
this just shows the importance of vigilance on the part of
collectors.

Under FD-690807A change artist from "T. Daly" to "Trish Daly."

After FD-690815-OHB-D add

"FD-690815-OHB-E In 1999 a copy was found on pale
blue/green stock."

After FD-690915 Add

FD-690916 In Search of America

9/16/69 660 Great Highway

Jellyroll Press Orion Devil's Kitchen

FD-690916-OP-1

In 1998 a small poster (18 15/16" x 11 15/16") was
discovered for this event which was described as "A
Political Light Show." This poster was printed only once.
Orion and Devil's Kitchen are also listed for this date on
FD-690915.

Add to FD-690925-OHB-A

"In 1997 it was learned that #14 was part of John Hardham's
personal numbering system."

Under FD-691031-OHB-A add “Color varies between gray and
gray/purple.”

Before FD-691113-OHB-A add:
"FD-691113-OP-1 In 1997 a poster size of this image was
discovered."

After FD-691126 add:
FD-691127
11/27/69
660 Great Highway
Unknown
The Free City Puppets
The End of the World Mob
FD-691127-OHB-A
In 2004 a large handbill on very fragile paper was discovered for
this
event. It was printed only once. It is
fascinating that even at this late
date new and previously unknown items are still being discovered.
11 15/32” x 16 63/64”

Under FD-700206 change the text to read:
FD-700206-OHB-A In 2011 it was discovered that
this handbill was printed twice. The original was printed on smooth,
plain stock which is .0035” thick. On the original there is
substantial dot
screen on the horse and rider. This is most noticeable around
the rider’s right elbow and the horse’s rear legs, but it appears
elsewhere as well.
8 1/2” x 10 63/64”
FD-700206-PHB-B Somewhere back in the 1970s
someone bootlegged this handbill. Since it is not a major rarity,
this was not a forgery but rather a pirate made to sell at low cost.
Copies of this pirate have emerged forty years later to confuse
collectors. The pirate is on pebbled stock which is much thicker,
006”, than the genuine original. The
dot screen on the
horse and rider on the original is completely gone on the pirate so
that the horse and rider appear to be a solid color. A
different printing plate was
used. 8 25/64”
x 11 1/32”

Under FD-700821-OHB-A add, "but it was printed on two paper
stocks. This item is the more common version which is on uncoated
stock.
After FD-700821-OHB-A add:
FD-700821-OHB-B This item is the less common version on
slick, coated stock. 8 15/32" x 10 19/32"

xxxxxxx

Bill Graham

At the end of BG-0-OHB-A add:

"It was printed in twos, side by side. The pairs are not
identical. Along the right border level with the second "e" in
"Service" on the left of the pair there are what appear to be
faint brush strokes in a small indentation in the margin."

After BG-0-OHB-A add:

"BG-0-OHB-B On the right one of the pair there is no
indentation with brush strokes. The margin at this level is nearly
straight. Both are legitimate originals."

Under BG-0 notes add:
I first published a Guide to psychedelic rock concert posters in
1979, but it was not until the third edition, the first illustrated
one in 1996, that I attempted to approach the material with a
rigorous, scholarly and academic attention to detail. Shortly after
that Jacaeber Kastor, the former owner of the Psychedelic Solution
in New York City, published his catalog which also was a serious
attempt to describe the printing history of this material. While
both of us were familiar with the research of the other, we each did
our own independent study and examined large collections of the
series over a long period of time. We discovered that we disagreed
on only about a dozen items. Over the last ten years we have managed
to resolve our differences on all but one item, and to give Mr.
Kastor his due, he was right more times than I was.
This brings us to BG-0. It was his belief that the item designated
BG-0-OP-1 in my Guide was actually a reprint. He held that only the
item designated BG-0-OP-2 in my Guide was an original. Unlike most
of the other material where we had been able to find hard evidence
such as printing records or paper stocks which matched mailers, in
the case of BG-0 there was no evidence like this on which to go. We
only had our instincts as scholars of the material. He believed that
since OP-2 was much more scarce than OP-1, that OP-1 must be a
reprint. I believed that since Bonnie MacLean, who had created this
image and managed the art department of Bill Graham Presents during
the time this would have been reprinted if it had been reprinted,
could not recall it's having been reprinted, and that since this was
not an image for which there was a high demand, it was unlikely that
this image was reprinted. Jacaeber put some weight on the fact that
OP-1 and OP-2 were printed with different plates on different stocks
of paper to support his argument, and I stressed the fact that the
BG-0 handbill exists in two forms both of which we know to predate
the concert and which are originals because there exists a printers
proof sheet of two handbills printed side-by-side on which one
variant is on the left, the other on their right. Furthermore
neither handbill exactly matches either poster which led me to
believe that there was substantial alteration of the artwork during
the printing process at which time two plates were produced which
were different. Jacaeber then asked why there would have been two
different printing plates used in such a short run. I had no answer.
I could only speculate that after a handful of BG-0's were produced
that something went wrong with the printing plate, and that it was
necessary to produce another plate and that in the time between the
production of plate number one and plate number two that Bonnie or
someone else made alterations to the artwork which show up as the
differences between OP-1 and OP-2. It is worth noting that even if
OP-1 was a reprint, it still would have been necessary for the
original artwork to have been slightly altered before the plate
which produced the second version was burned because there are
several lines in the drawing of each version which differ.
This led to a stalemate which, it seemed would never be resolved
because it appeared unlikely that new evidence ever would emerge
which would support one point of view or the other. Then in 2005 Mr.
Kastor sold his business and his complete personal collection to
Wolfgangsvault which is located in San Francisco. The owner of
Wolfgangsvault, Mr. Bill Sagan, has been very gracious and helpful
in allowing me access to the material in the vault to enable me to
do ongoing research on the printing history of this material, and on
a visit there in late 2005 I asked to see what Mr. Kastor had in his
collection in the way of BG-0. To my amazement I found something
which I believe resolves this matter once and for all.
I have long owned and uncut printer's proof sheet of BG-0-OP-2. This
is only slightly larger than the finished poster and has unprinted
areas forming borders on three sides of the printed area. These
unprinted areas were trimmed off before distribution. Mr. Kastor's
collection included in it an identically configured uncut printer's
proof sheet of BG-0-OP-1. This seems to be conclusive evidence that
both OP-1and OP-2 were done at approximately the same time on the
same press prior to the event. The notion that if BG-0-OP-1`was
printed 10 or 14 months later (It would have had to have been that
long if it was a reprint because no reprinting was done until long
after April 1966, the time of the BG-0 concerts.), that the
printer's proof sheets of OP-1`and OP-2 would have been configured
identically despite the use of different plates and probably
different presses seems extremely unlikely and probably impossible.
Therefore I believe the existence of these identically configured
printer's proof sheets of BG-0-OP-1 and BG-0-OP-2 is proof
dispositive that both are originals printed before the event for
distribution to promote the concerts.
I believe the fact that there are so few extant copies of BG-0-OP-2,
far fewer than any other numbered Bill Graham original from this
period, supports my conclusion that something went wrong very early
in the printing process of OP-2 which necessitated the burning of a
second printing plate. It is unfortunate that ten years ago I
designated the more common version "OP-1" (I did this because it was
more common.) because it now appears "OP-2" may be the earlier
version, but since both predate the event, both are originals, and
the presence of either is acceptable as part of a complete set of
originals. I believe it would be confusing to reverse the
designations at this late date, but I believe it is important to
note that BG-0-OP-2 may
predate BG-0-OP-1, but this is not certain, and both are, as I
have demonstrated, originals.

In 2009 an eagle eyed Electric Dave Lawrence noted a very
important typographical error under the dimensions of
BG-0-OP-2. Until this time the length of this poster was
listed in my Guide as 18 31/32". This is incorrect. The
correct length is 18 31/64".

Under BG-1 add:
EVIDENCE: Since this is a very important image and the status of
BG-1-OP-2 as an origi-
nal is very important for collectors who want to assemble a complete
set of original printings,
I have been asked numerous times what the evidence is which
justifies my declaring OP-2 an
original. If I were to include the evidence for all images, this
Guide would be several times its
current size so I cannot and will not do that, but in this case, I
believe it is appropriate. First I
have seen a copy of BG-1-OP-2 bearing the stamp “Approved for
posting Associated Students
San Francisco State University.” This poster was obviously posted
prior to the concert.
Jacaeber Kastor of Psychedelic Solution has also seen another copy
bearing a similar stamp.
Second in the late 1970s when I interviewed the artist who created
and printed this image, Peter
Bailey, he told me that when he showed the poster to Bill Graham,
Graham objected to Bailey’s
credit as artist and demanded that he print more without the credit.
Bailey told me that he did so
and that these were delivered to Bill Graham Presents prior to the
concert and posted to adver-
tise the concert.

After BG-2-RP-3 add:
BG-2-RP-4 In 2013 the artist who created this
image, Wes Wilson, did a reprint of his own of the Batman image.
This was printed on a stock with a gold foil front and a white
reverse.
This was a
limited edition, signed and numbered, 1 to 55. He also created
giclee prints of the Batman image at this time, but these vary in
size to custom order. 14 1/64 x 21 1/16"

After BG-2-RPC-B add:
BG-2-PHB-C In 2009 I encountered a pirate
handbill of the Batman image. It was printed not long before I saw
it using printing equipment current in 2009. It is on orange stock,
not
tan like the original handbill. It
is most easily distinguished by its size which is much larger than
the original. 8 17/32” x 11 1/64”

After the essay at the end of BG-2 "THE BATMAN POSTER" add
Every time I think I have dealt with the Batman poster, BG-2, for
the last time, a few years goes by, and some new problem arises.

In 2013 I learned that the distinction in my Guide for the original
Batman isn't quite as bullet proof as I had thought. The distance
described in the Guide now appears to be little more than modestly
useful.

Fortunately while in the process of discovering this, I managed to
observe something which hopefully will prove more reliable.

The reason the distance described in the Guide, 18 11/16" from the
upper right corner of the "t" in "Presents" to the bottom of the "y"
in "Berkeley," is not absolutely, perfectly reliable has to do with
new factors entering the sphere of poster description.

First this poster was printed on a rather poor grade of paper, and
even with no other factors, it seems this paper often has been
subject to minor shrinkage over the forty-seven plus years since the
original was printed. Numerous copies that clearly are originals
have appeared where the measurement is at least an eighth of an inch
less, but this is not the worst of it.

Second this poster was often severely damaged by stoned hippies who
had no idea that four decades later some copies of this poster would
be worth more than $20,000.00, and that condition was going to be
extremely important. To requote one of the best lines about this
material I ever have heard, one said by Jacaeber Kastor in a moment
of brilliant insight, "All these guys who fucked everything that
walked, now want virgins." What this has led to is a great deal of
work for paper restoration experts who will work wonders in the
process of restoring the virtues of these sadly damaged ladies. The
problem for identifying originals is that among the tools employed
by these plastic surgeons of soil, tack holes, and tears are a
variety of baths involving water, bleach, and occasionally other
solvents. While these newly near mint nearly virgins come out of
these baths looking delightfully pure, they also most likely have
shrunk, in some cases more than 3/16" of an inch.

Recently such a copy led an investor who purchased one of these
restored near virgins to believe that the poster he had spent as
much money on as my parents paid to buy a nice house in New Jersey
in 1953 was a forgery, a very, very serious charge, and if he had
been correct, one that would go a long way toward destroying the
investment potential of this material.

Luckily in the process of examining this specific copy and comparing
it to two copies which are of known provenance, I noticed that the
paper stock was very unusual. On the reverse all three, the two I
brought with me and the copy under suspicion, had a diagonal woven
or "rows" texture. The diagonal lines in this woven texture on
the back went from upper left to lower right. Neither
BG-2-RP-2 nor BG-2-RP-3 have anything like this diagonal woven
texture.

I urge all serious dealers, collectors, and investors in this
material who own copies of BG-2-OP-1 to look at the back of their
copies obliquely and see what I am describing. This will go a long
way to clearing up what is and is not an original. I can not imagine
that at this late date a forger would be able to find a quantity of
this odd, low quality stock, photograph a genuine original, burn a
new plate, and print a forgery so detailed that no one could notice
the loss of detail which is inescapable in reproduction.

Let us go forward into the now slightly less obscure fog.

After BG-2 add:
This is the image which looks a lot like BG-1. This is not a
numbered item.

Since the first edition of this Guide I have resisted including this
image in the Guide. The reason is simple. This section of the Guide
deals with the posters, postcards and handbills which were assigned
numbers in the Bill Graham series by the original copyright holder,
Bill Graham.
He never assigned a number to this image, and out of respect for his
decisions, I have not included it.

There were lots of midweek and other events put on at the Fillmore
Auditorium by Bill Graham and by others whom he allowed to use the
venue. Many of these were advertised by posters, postcards and
handbills, but Bill Graham did not assign them numbers in his series
so they are not included in this Guide. There were hundreds of these
different pieces of concert promotional material, and the above
image is only one of them.

Unfortunately in this case this omission has added to the confusion
surrounding this image, and the purpose of this Guide is to clear up
confusion, not add to it, so I now am including information about
this image.

What happened is simple. Bill Graham booked the above concert, and
Peter Bailey was assigned the task of creating the promotional
material for it, in this case a handbill. He already had created an
image for the Jefferson Airplane at the Fillmore Auditorium, and he
decided to save himself some trouble by recycling the image for that
event, Fillmore/Bill Graham number one, (BG-1). He changed the dates
and added the accompanying acts for this pair of concerts.

The confusion arises from the fact that it looks a lot like BG-1,
but it obviously is not BG-1, nor is it a variant of BG-1. It is a
new image that is not required for a complete set of Bill Graham
numbered handbills. On other occasions Bill Graham recycled images
such as BG-215 to create BG-215A, and these are required for a
complete set of numbered Bill Graham items, but these are required
because Bill Graham assigned them numbers in his set. Since he did
not assign this image a number, it is not part of the numbered
series, just one of the multitude of images for miscellaneous
concerts to which he did not assign a number.

It also should be noted that there are unnumbered images which were
used to create posters, postcards and handbills for numbered events
which also had other, numbered posters, postcards and handbills.
Those images are not included in this Guide for the same reason this
image is not. Those images were not assigned numbers even if the
events listed on them were.

This item only was printed once and only as a handbill. No poster is
know to exist for it.

Under BG-5-OP-1 change "left" to "right."
After BG-7-RP-2 add

BG-7-PP-3

In the mid 1980’s someone acquired the black and red
plates for the reprint of BG-7. This person printed and
sold a small quantity of posters, printer’s proofs with
three cards and separate cards. These can be identified by
the absence of the green run. The attorneys for Bill
Graham Presents defended the copyright immediately. They
seized the offending material, and very few copies were
distributed. These were printed on .0075" uncoated index."

After BG-7-RPC-C add

"BG-7-PPC-D See BG-7-PP-3 for information about the
pirate card."

After BG-8-RP-2 add:

"BG-8-RP-3

In 1996 this poster was printed again under the auspices
of Wes Wilson. The words "Andy Warhol and his Plastic
Inevitable" were printed in hot pink instead of white.
"Copyright 1996 Wes Wilson BG-8-3/PS 33" was added below
"Fillmore" at the lower left corner of the image above
"Ticket."

Under BG-8-OHB-A add an asterisk after "...show on the
reverse*"
Under BG-8-OHB-E add

"This paper is similar in color to the stock used for
BG-2-OHB-A, BG-11-OHB-A, BG-13-OHB-A and BG-17-OHB-A."

Under BG-8-RPC-G change "1993" to "1996."

After BG-8-RPC-G add

"BG-8-OHB-H This item is on pale yellow paper with a
review reverse."
BG-8-RPC-I In 2004 Matthew Marks Gallery
in New York City used this image for a card announcing an
exhibition of psychedelic posters.
4 7/32" x 6
1/32"
BG-8-RHB-J In 2005 Brad Kelly
pointed out to me that in 2002 Chronicle Books and the Andy Warhol
Foundation issued a box of copies of Andy Warhol memorabilia. It
was called The Andy Warhol Pop Box. Among the items in this box
was a copy of the BG-8 handbill printed in black ink on pale
yellow paper. There is no review on the reverse which is blank.
Since I have never seen an original of this handbill on yellow
paper, I believe this description alone should be enough to
prevent someone from offering this as an original. 5 17/32” x 8
33/64”

After BG-8 notes add: *There also exists a handbill for this event
which is only a version of the Los Angeles Times review printed on
pale pink paper without any version of the BG-8 image on the other
side. This handbill is not included in the numbering system of
this Guide because this Guide is limited to items which bear the
images designated by number by the original copyright holder, Bill
Graham Presents. Nevertheless collectors should be aware this
version exists.
This version adds, “Coming to the Fillmore Auditorium” in the
upper right corner and, “FRI., SAT. + SUN. MAY 27, 28, 29” in the
lower right corner. Also on this version the vertical lettering
“Los Angeles Times” in the upper right corner is not solid black
lettering as it is on the handbills with the BG-8 image on the
other side. In this case this lettering is hollow.

Under BG-9 change the text to read:
BG-9-OP-1 The original poster bears union logo
#72 in the lower left corner. The diagonal measurement from
the upper left corner of the image above and left of the “B” in
“Bill” to

the lower right corner of the image below and
right of the “O” in “San Francisco” is 22 29/64” on the genuine
original. See BG-9-PP-3. At the time of the discovery of
BG-9-PP-3 I also learned that the original of
this poster was printed on at least three different stocks of paper.
One fluoresces brightly under black light, one turns gray, and
one does not fluoresce at all. 14 1/64” x 20
1/64”
BG-9-RP-2 The reprint has no union logo.
"#9" appears to the right of "o" in "San Francisco." 14 1/32”
x 20 7/32”
BG-9-PP-3* In 2009 it was discovered that at least 30
years ago someone created a pirate poster of this image which
includes the union logo #72. The measurement described under
BG-9-OP-1on this version of the image is 22 15/64.”
This is a difference of almost 1/4.” All copies of this poster with
the union logo #72 should be checked to see if they
are pirate copies because this pirate printing is a
very difficult one to distinguish other than with reference to this
dimension. 13 27/32” x 19 53/64”
BG-9-OHB-A The handbill is in monochromatic blue
on thin white paper with union logo #72 below "Tickets." 5
17/32” x 8 17/32”
BG-9-RPC-B The postcard printed in 1967 is similar
in image to the poster but with no union logo. 4 51/64” x 6
1/2”
BG-9-RPC-C Some "postcards" have a blank
back. 4 25/32” x 6

B. G. 9
This poster is green, gray and blue on a white background. The
image is a mushroom shape surrounded by circles. Most of the
lettering is on the mushroom. This poster announces the first
appearance by the Grateful Dead at the Fillmore Auditorium.

* This pirate poster looks so much like the correct original
that it is likely that some collections of originals include this
pirate and not the correct original. It is almost impossible to
notice that this poster is different from the original unless the
two are held side by side which I believe is why it has been out
there for at least thirty and perhaps forty years without anyone
noticing it. It only was discovered by accident when Dave
Lawrence was looking at two copies of what he thought were
originals, and he noticed that one was slightly smaller. He sent
them to me for close examination, and I was able to determine that
it was not a pirate that had been done recently.

I determined that this pirate poster was printed by offset
lithography, that is, on a press with a printing plate that rolled
on the ink, not with a modern inkjet printer which sprays on the
ink.
This means that it is extremely unlikely it was done in the last
twenty years.

Because of the difference in size of the image to the original, it
can be stated that it was not printed with the same printing plates
or from the same film as the original, but because of the clarity of
the image and the dot screen, it is very possible that the pirate
who printed this poster had access to the original artwork by Wes
Wilson. It should be noted that this does not in any way mean that
Wes Wilson is implicated in this piracy. At this time it was common
practice for the artists to leave their artworks with printers in
case the copyright holder asked for reprints. What is most likely is
that some unscrupulous print shop employee reprinted this image
without the knowledge or consent of anyone in authority. Both Wes
Wilson and Bill
Graham were victims here.

It should be noted that as early as 1967 I encountered people who
were printing these postersillegally. I would estimate that the
pressrun of this pirate probably was several hundred, so it is
likely that lots of copies of it survive, and that now that its
existence has been documented, several copies will turn up in
collections which were thought to contain originals. Buyers of
BG-9 originals henceforth should be very careful to measure the
diagonal distance described under BG-9-OP-1 to be sure that they are
getting a genuine original and not this pirate.

I checked one other possibility, that this was a very early reprint.
If this had been the case, at least some copies would survive in the
inventory of Wolfgangs Vault as do copies of all the
other very early reprints. Grant Feichtmeier of Wolfgangs Vault was
kind enough to check their inventory for me, and no copies of this
variant were found. I consider this reasonable proof that this
variant was not printed under the authority of Bill Graham before
1975 when he stopped reprinting the posters.

Under BG-10-RPC-B add: "The back of this card has the words "place
stamp here" above a blacked out bulk mail permit.

After BG-11-RPC-C add:

"BG-11-RPC-D Some copies of the uncoated index cards
have a blank reverse."

Under BG-12 acts delete Great Society. They did not play this
concert.
Under BG-12-RP-3 add: It should be noted that there is no union logo
on this poster, a clear indication that the blue backed posters were
printed by a different shop
than the other early
printings.
Change "BG-12-RPC-B" to BG-12-OHB-B"
Under BG-12-OHB-B add, "In 2014 I examined this handbill again, and
the dark green color had become black."

Under BG-12-RPC-C add "The back of this card has the words "place
stamp here" above a blacked out bulk rate permit.

After BG-12-RPC-C add: "BG-12-RPC-D Some postcards have a blank
reverse."

After BG-12-RPC-D add: BG-12-RPC-E Some postcards
have the bulk mail permit without the “place stamp here” imprint
covering it.

After BG-12-RPC-E add: BG-12-OHB-F In 2014 I was
shown another version of the negative image handbill (See
BG-12-OHB-B) which had a printing flaw similar to one on
BG-12-OHB-B
which meant it almost
certainly was printed with the same printing plate as BG-12-OHB-B.
This version is in light blue ink on white stock." No
union logo appears. 5
1/16" x 8 1/16"

Change BG-13 cards to read:

It now appears that the postcard was printed twice, once
with BG-13-RP-3 and once with BG-13-RP-4. The cards were printed
in threes alongside the posters. Each of the
three is distinguishable from the other
two by printing flaws. Furthermore each printing was cut two
different ways. This gives a total of twelve different possible
cards. Two (for the number of printings which were on different
paper) times three (for the number of different printing flaw
variations) times two (for the number of different cuttings)
equals twelve. The paper possibilities are either vellum or index
depending on whether the card was printed with BG-13-RP-3 or
BG-13-RP-4. The flaw possibilities are either no print flaw, a
vertical purple arc flaw 1/8" long above the "ea" in "Geary" or a
small 1/32" purple blob located 3/16" below the "a" in "at." The
cut sizes are either less than 7 1/2" height (short) or longer
than 8" (long).

BG-13-RPC-B

This item is on vellum with no print flaw and is long.
5 1/8" x 8 3/64"

BG-13-RPC-C

This item is on vellum with the arc flaw and is long.
5 3/32" x 8 3/64"

BG-13-RPC-D

This item is on vellum with the blob flaw and is long

BG-13-RPC-E

This item is on vellum with no print flaw and is
short.

BG-13-RPC-F

This item is on vellum with the arc flaw and is short.
5 7/64" x 7 11/64"

BG-13-RPC-G

This item is on vellum with the blob flaw and is
short.

BG-13-RPC-H

This item is on index with no print flaw and is long.

BG-13-RPC-I

This item is on index with the arc flaw and is long.

BG-13-RPC-J

This item is on index with the blob flaw and is long.
5 1/16" x 8 1/32"

BG-13-RPC-K

This item is on index with no print flaw and is short.
5 1/16" x 7 15/32"

BG-13-RPC-L

This item is on index with the arc flaw and is short.
5 3/64" x 7 7/16"

BG-13-RPC-M

This item is on index with the blob flaw and is short.
5 3/64" x 7 15/32"

Under BG-15 Acts add *Sons of Champlin
*In October 2008 at the TRPS (The Rock Poster Society) annual swap
meet Grant McKinnon of San Francisco Rock Posters and Collectibles
showed me a scrapbook of small photographs taken by a woman who had
attended several of the early Fillmore Ballroom concerts. In this
scrapbook was the handbill for this concert by the Turtles and
photographs of the Turtles, Oxford Circle and the Sons of Champlin.
She had said to him that the Sons of Champlin definitely had played
at this show.

"The chartreuse card comes in two forms. This version has a white
border on all four sides."

Under BG-16 After BG-16-RPC-C Add: "BG-16-RPC-D

This version of the chartreuse card is trimmed so that the left
and right white borders are eliminated and the white border is
only on the top and bottom."

Under BG-17 after BG-17-RP-2 add

BG-17-RP-3 This reprint is also blue on the reverse.
"#17" has been added after the Wilson ‘66 credit. 13 31/32" x 19
15/16"

Change BG-18 posters to read:
BG-18-OP-1A The original printings of this
poster bears all three of the following characteristics: The
reverse side of the paper is white. The lettering "Wes
Wilson '66" is dark red matching the color of dark red in the
ticket outlet strip. Paper thickness is less than
.008". One variant of the original is on .0065” stock which
has a pronounced floresence or glow under black light.
13 15/16” x 19 31/32”
BG-18-OP-1B Another has a moderate, even floresence
under black light and is on stock in the .0075” to .0080” range.
14 3/32 “ x 20 5/32”
BG-18-OP-1C A third has no floresence under
black light. This also is on stock in the .0075” to .0080”
range. 13 63/64” x 20 7/64”
BG-18-RP-2 The reverse of the second printing is
blue. The green is an olive green. "#18" does not
appear (see BG-18-RP-3). 13 23/32” x 19 45/64”
BG-18-RP-3 The reverse of this, the third
printing is also blue. Green is a rich, dark maple tree leaf
green. "#18" appears after "Wes Wilson '66".
13 63/64” x 19 31/32”
BG-18-RP-4 The reverse of the fourth printing is
white. On this and only this printing "Wes Wilson '66"
appears in a bright red matching the red of the image lettering,
not the dark red of red over green of the ticket outlets strip as
it is on all the other printings. 13 1/2” x 20 1/64” and 13 45/64”
x 20 7/64”
BG-18-RP-5 The last printing is white on the
reverse and has "Wes Wilson '66" in dark red like the ticket
outlets strip. Paper stock is thicker than .009". This
is the same paper stock, smooth uncoated index as most of the
first printings of BG-54 through BG-149 inclusive. 13 29/32” x 20”
BG-18-OP-6 A few copies of an original on .0065”
stock which has a pronounced glow under black light (See
BG-18-OP-1.) got a very light saturation of the red probably due
to the reservoir of the press running out of red ink. This
created an appearance of “pink,” but under high magnification it
can be seen to be red. These have no ticket outlets strip or Bill
Graham or Wes Wilson credits. The reason for this is that the
green was printed over the red, and the “pink” was so faint as to
be obliterated by the green which went over it.
13 15/16” x 19 31/32”

BG-18-PP-7In 2006 an ebay seller who later stopped selling on
ebay created two pirate

versions
of this image as a poster. One was an enlarged version of the
handbill,

blue on an off white background. Both
pirates can be distinguished by the

absence of the
Wes Wilson credit next to the “3” in the date.

18
29/32” x 24 1/64”

BG-18-PP-8
This
pirate
also
done
in
2006
by
the
same
pirate
who
did
BG-18-PP-7
follows
an
appoximation
of
the
original
poster
colors,
but
the
Wilson
credit
is
also missing here. 18 29/32" x 24"

IMPORTANT CORRECTION REGARDING BG-21:
SINCE THIS IS A MAJOR CORRECTION, IF YOU HAVE ANY QUESTIONS ABOUT
THIS, PLEASE EMAIL ME.
PLEASE CHANGE THE TEXT OF BG-21 POSTERS TO READ:
BG-21-OP-1 In late 2005 while doing research in
the inventory of Wolfgangsvault, I discovered conclusive evidence
that the poster formerly identified as
BG-21-OP-1 was actually a very
early reprint. While most of the information in this Guide iS stable
and not likely ever to change, occasionally new discoveries
occur which necessitate major changes in
the Guide. Due to this discovery the designation “BG-21-OP-1” has
been eliminated from this Guide.
BG-21-OP-1A The only original printing of this poster is
on vellum which is .0090” thick. The back of this stock floresces or
glows under black light. The easiest
way to distinguish this item is a small,
horizontal green line through the first “T” in “Tickets” in the
bottom left corner. There is some variation to the colors,
especially the green, of this item. 13 29/32” x
20 9/64”
BG-21-RP-2A The poster formerly identified as
BG-21-OP-1 is actually an early reprint which predates BG-21-RP-2.
This is its new designation. This item is on
index which is .0080” or less in thickness. The
back does not glow or floresce under black light, and it does not
have the green line described under
BG-21-OP-1A. There is some variation to the
colors, especially the green of this item. 13 57/64” x 20 1/8”
BG-21-RP-2 This reprint is on uncoated index
similar to that used for most originals from number 54 to number
149. This reprint is .0090" thick or thicker. The
back of this index reprint will not glow or
floresce under black light. It does not have the green line
described under BG-21-OP-1A. The colors of this item are
more consistent than those of BG-21-OP-1A
and BG-21-RP-2A. 13 29/32” x 20 1/8”

Under BG-22 change the date to read "8/10/66."
Under notes BG-22 change "right" to "left."

Change BG-23-OP-1 to read:
BG-23-OP-1-A This is the first of the posters
discussed in the Bill Graham preface which have the "Friday/Monday"
effect. The originals are on relatively porous stocks compared to
the third
printing. These both have
color on the reverse from posters coming off the press not quite dry
and picking up some color from the sheet printed immediately before.
Both
versions
have
the
credit
"Wes Wilson '66" in the blue/purple background below "Aug.
13". In 2011 it became possible to distinguish the two
variants of BG-23-OP-1. The first
of
these
variant
originals
will now be known as BG-23-OP-1-A. This original is distinguished by
the fact that the back will floresce or glow under black light. Very
minute plate
marks prove that both
versions were printed with the same printing plates, but the ink
used on the background was changed between the two versions. On this
one the
background
is
lighter
and
has a bit of purple in it. 14 7/32” x 20 3/64”
BG-23-OP-1-B The second version of the original is on stock
which does not floresce or glow under black light. The background is
more dark and blue than BG-23-OP-1-A. The reason it was so
confusing and it was not
possible to distinguish these two variant originals before now is
that during the printing process of the second version, the blue
background plate was
allowed
to
get
very
dirty and clogged.
This resulted in a great range of
clarity to lack of clarity of the dot screen of the photographs.
These are not separate printings, clear and fuzzy. There is a range
of examples
running
from
clear
to
fuzzy. For example, on this version what the viewer sees as the left
cheek of the left most figure in the upper photograph can be
anything between solid
color
to
finely
shaded
dot screen. 14 13/64” x 19 15/16”

Change BG-25 posters to read:

BG-25-OP-1The back of the original printing of this poster will
floresce or glow under black light. 13 11/16” x 21 3/32”

BG-25-RP-2
In
2006
after
considerable
study
of
reprints
of
BG-25,
I
realized
that
there
were
two
separate
reprints
of
BG-25.
Neither
reprint
will
floresce
or
glow
on
the
back
under
black
light.
The
evidence
for two reprints is the difference in the color red from
BG-25-RP-2 to BG-25-RP-3 as well as different paper stocks.
The distinguishing characteristics are print flaws, but the
consistent color difference and paper stock difference are the
best evidence. On this item the horizontal red print flaw
described under BG-25-RP-3 does not appear. In previous editions
this Guide described a saw tooth projection which it now appears
is not a useful distinction. The best way to distinguish
BG-25-RP-2 from
BG-25-RP-3 is the presence or absence of the
horizontal red print flaw described under BG-25-RP-3. Under black
light the back of this poster has a distinct gray tone.
13 37/64” x 21”

BG-25-RP-3
This
item
will
not
floresce
or
glow
on
the
back
under
black
light.
On
BG-25-RP-3
there
is
a
horizontal
red
print
flaw
through
the
top
of
the
second
“e”
in
“Elevator.”
Under
black
light the back of this poster has a white tone. 13 45/64” x 20
61/64”

After BG-25-RP-3 add:
BG-25-PP-4 In 2011 a pirate selling on the internet
bootlegged this poster. The stock used was glossy. The size is
the distinguishing characteristic. 12” x 18”

After BG-25-PP-4 add:

BG-25-RP-5 In 2014 Wolfgang's
Vault reprinted this poster on slick, glossy stock in a press
run of 500. A "Wolfgang's Vault" credit appears in the lower
right corner. 20 25/64" x 30 49/64"

BG-25-OHB-AThis
is the first handbill in the Bill Graham series which was a full
color match of the poster.It had a
blank reverse and, like the poster was .0070" or less in
thickness. 4 7/8” x 8 43/64”

BG-25-RPC-BThis
postcard, printed in late 1966 or early 1967,
matches poster BG-25-RP-2 and is .0075" or more in thickness.It
has a gray tone on the back under black light. 4 7/8” x 8 1/2”

BG-25-RPC-CThis postcard, probably printed later in 1967, matches
BG-25-RP-3. It has a white tone on the back under black light. 4
7/8” x 8 1/2”

After
BG-25 notes add:

In
2010
several of the serious students of the printing history of
psychedelic posters raised questions about the accuracy of this
Guide regarding BG-25. These questions arose because they
occasionally had encountered piles of posters dating from the
1960s which were all or almost all originals except for the copy
of BG-25 which, according to this Guide, was a reprint,
BG-25-RP-2. Since BG-25 is one of the most confusing and difficult
posters in the Bill Graham series to identify correctly, and since
my designations of BG-25 posters are not based on later research
but actual personal experience around the time of the concerts, I
believe I ought to include this in the Guide so these questions
will be answered once and for all.

In late April or early May of 1966 I began
saving these posters. By late May of 1966 I realized there was
some kind of series, and I tried to acquire the earlier posters
which I was missing. After finishing work on my Master's Degree in
English Literature at the University of California Berkeley campus
in June 1966, I left California for the summer. I returned around
Labor Day to begin work on my Ph.D. As soon as I got back, I put
up signs on telephone poles seeking to buy the posters I had
missed during the summer. Almost immediately I encountered a man
who had been taking down these posters from telephone poles all
the way back to the King Kong, FD-2. Another way he had gotten
these posters was out of store windows where they had been posted.
Typically he would go into a store and ask for a poster, usually
soon after it had been posted and well before the concerts. Many
store owners did not want to keep these posters for themselves but
felt they should keep the poster in their store window until after
the concerts, so they would tell people like this man to put his
initials on the poster, and they could come back and pick up the
poster after the event.

In the pile of posters I bought from this man
in the middle of September 1966 was a copy of BG-25 on which his
initials appear in ballpoint pen. This was about two or at most
three weeks after the BG-25 concerts. Obviously this poster has to
be an original because this copy had been posted in a store window
before the concerts. I still own this copy, and I can not have
mixed it up with another one because his initials are on it. Under
black light the back of this poster will glow or floresce. The
stock of this copy of BG-25 matches all the blank backed copies of
the BG-25 handbill I ever have seen, all of which glow or floresce
under black light. I am strongly inclined to believe that BG-25
was the first Bill Graham Presents poster to have been printed on
a larger sheet with three handbills arranged vertically alongside
the poster, hence the identical stock of original handbills and
original posters. I will add more on this below.

The issue has been raised as to whether
BG-25-RP-2 might have been printed before the concerts and should
be reclassified as an original since this is the version which has
appeared in the piles in question. The answer is "no" for several
reasons. First no blank backed copies of the handbill exist on the
stock used for BG-25-RP-2, only "place stamp here" backs with the
return address of the Fillmore Auditorium. This imprint did not
appear on an original postcard until at least BG-38 postcards
several months later, and the plate to imprint it reasonably can
be presumed not to have existed until then.

Second the stock used to print BG-25-OP-1 was
an unusual one and only was used on one other original,
BG-26-OP-1. What this implies is that enough of this stock was
bought before the BG-25 event that there was some left over on
which BG-26-OP-1 was printed. In all likelihood this means that
there was enough of this stock to print all the copies of
BG-25-OP-1 without having to use another stock to finish the press
run.

So why does BG-25-RP-2 occasionally turn up in
piles of posters that mostly are originals (Most of the time runs
of originals dating from the time of the concerts include
BG-25-OP-1.)? In 2008 I got a good idea of why BG-25-RP-2
sometimes appears in these piles. I encountered a client who had
inherited from his mother two sets of the earliest Bill Graham
Presents posters. These sets were unusual in that his mother had
told him specifically that she had never been to a concert,
had never been handed a poster in the street and had never taken
one down from a telephone pole or out of a store window. All of
her posters had come from a single source, a show of Wes Wilson
posters at a gallery in November 1966. All the posters in these
two sets were originals except for the BG-25s. One was an
original, and one was a reprint, BG-25-RP-2.

I asked Wes if I could interview him about
this, and he most graciously consented (Thanks, Wes.). Wes
remembered that this show was held at a small gallery called the
Kelly Gallery and that this show was one in which he did not
participate personally. The owner had asked him for posters
for this show, and Wes had sent him to both Bill Graham and West
Coast Litho, the printer he was using at that time. Most of the
posters came from Bill Graham's small inventory, but the printer
apparently had just reprinted BG-25, so copies of BG-25-RP-2 were
included in the show along with a handful of originals.

The timing of this art show coincides with the
first use of the "Bill Graham Presents / Fillmore Auditorium
return address" postcard backprint, and this backprint was placed
on this very early reprint, perhaps the first or second Bill
Graham Presents poster reprinted (The Batman poster, BG-2, may
have been reprinted a week or two earlier but by a different
printer than BG-25.).

Wes also told me something else about the
original printing of the BG-25 poster and handbills. For some time
preceding this poster he had wanted to experiment with something
which became one of his signature design statements, color which
extended to the edges of the poster. The printing presses at the
earliest printers he used at that time, Bindweed Press and
Double-H Press, did not have the capacity to run color to the edge
of the sheet, so he moved to West Coast Litho where he worked with
a pressman named Ivor Powell to produce the effect he wanted on
BG-18-OP-1 and BG-23-OP-1. He also discovered that West Coast
Litho had a substantially larger press than the ones on which he
previously had been working. This gave him the idea to experiment
with a larger sheet of paper on which he could print one poster
with three handbills arranged vertically alongside the poster.
This achieved a much more attractive full color handbill which was
a smaller version of the poster, a product much more interesting
than the separately printed monochromic handbills to which he had
been restricted until that time. It appears the BG-25 was the
first time he tried this idea, hence the fact that all the
original posters must match the stock of the original blank backed
handbills. If a large quantity of other paper had been used before
the event, there would have to be a substantial number of blank
backed handbills on that stock. There are not. There only are
postcard back versions on the stock of BG-25-RP-2 so
BG-25-RP-2 can not be an original.

For the record the same thing is true of
BG-25-RP-3 (No blank backed copies of a handbill exist on the
stock of BG-25-RP-3 either, only postcard backed versions.) which
has to be a reprint for another reason as well. There are too many
copies of BG-25-RP-3 in the inventory of Wolfgangs Vault for it to
be an original. Wolfgangs Vault owns the remainder of the
inventory of Bill Graham Presents, and there is no way that Bill
Graham Presents would have saved that many copies of a poster at
the time of that concert. This is the same reason I had to change
the designation of what I had thought was a variant original of
BG-21 but which turned out to be a very early reprint. There just
were too many copies of it in the Wolfgangs Vault inventory, and
Bill Graham was not saving hundreds of copies of posters at the
time of that concert, and BG-25 dates only four weeks later. Bill
Graham Presents did not start saving large quantities of originals
until months later.

I hope this settles the confusion and debate
about the printing history of BG-25-OP-1.

Under BG-26-RPC-D add:

This card is cut similarly to BG-26-OHB-A with a
1 1/8" wide border above the image and a narrow border below."

After BG-26-RPC-D add:

BG-26-RPC-E This card is cut similarly to
BG-26-OHB-B with a 1 1/8" border below the image and a narrow
border above. "West Coast Litho." credit appears on the reverse.

BG-26-RPC-F This card is cut similarly to
BG-26-OHB-C with borders less than 1/4" both above and below
the image. "West Coast Litho." credit appears on the reverse.

In his most recent catalog, Aug.
1999, Jacaeber Kastor of Psychedelic Solution writes, "Sadly,
the 'saw teeth' characteristic, mentioned by some parties as a
distinguishing element for the 1st printings, is not
consistent throughout the run (it seems to be a byproduct of
over-inking)."

Over the years Mr. Kastor and I
have exchanged opinions on the printing history of
psychedelic posters, and I have benefited greatly from his
expertise. He has given me a number of corrections,
distinctions and additions for my guide, and I have the
highest respect for his scholarship. That said, I disagree
with him vigorously on this particular matter. In the last
thirty plus years I have seen several dozen original
printings of this poster. These are copies of known
provenance which can be traced back to the time of the
concerts. I know of only one copy which can be documented to
be an original which does not have the saw tooth
characteristic. While it is certainly possible that other
original copies without the saw tooth characteristic exist,
I would be very reluctant to buy an original which did not
have this trait.

It used to be that dealers
could encounter groups of all originals with no reprints in
the possession of people who had attended many of the
concerts. Even if one was not absolutely certain of how to
distinguish originals from reprints, one in possession of
such a grouping could with confidence sell them as
originals. This simply no longer happens and has not
happened with any reliable frequency in the last decade.
Either these people have long since sold what they had, or
they have become systematic collectors themselves. Not too
long ago a dealer encountered an almost complete run of Wes
Wilson Bill Graham originals from someone who in fact had
attended many of the concerts. This dealer assumed that all
the posters in this stash were originals, but, as it turned
out, one was a reprint. The old Hippie apparently had
forgotten he had missed one concert and bought that poster
months later. Fortunately I was able to point out this
reprint to the dealer before he sold it and wound up with a
very ($1350.00) dissatisfied customer.

The difficulty of establishing
provenance for any given poster at this late date simply
makes it imprudent for a collector to purchase a copy of
Bill Graham number 28 as an original if the saw teeth are
not present. Based on my experience there is no worse than
one chance in thirty that the collector is passing up a
genuine original, but at least twenty-nine chances in thirty
that someone is making a mistake.

After BG-29-RP-6 add:
BG-29-RP-7 In 2011 Wolfgangs
Vault, the current holder of the copyrights on Bill Graham
Presents posters from the psychedelic era,
reprinted this poster. The purple
version was used as a basis for this new
reprint. A “Wolfgangs Vault” credit
appears in the lower right corner. 20” x 37”

Under BG-29-OHB-B add “Some copies of this handbill have a
printing flaw where the background green infringes on the lower
legs of the figure.”

This entry replaces any previous BG-30 entry.

BG-30

10/7 & 8/66

Winterland

Wes Wilson

Butterfield Blues Band
Jefferson Airplane
Grateful Dead

BG-30-OP-1* Previously I had described the original of this
poster as being the
blue/green version with a faint lightening of color at a
specific point in the left margin.
In 2002 I discovered this was incorrect. Although the blue/green
variants are
originals, there are pure blue originals, too. Henceforth
originals are to be
distinguished by the presence of substantial red ink backprint
of the upper two
flowers, the ones located at the top of the poster (Backprint is
ink on the reverse of a
poster picked up from the previous copy as the next copy came
off the press because
the previous copy was not yet dry.). Some originals may have red
backprint from the swirl and/or other flowers, but minimally
there will be
backprint from the upper two flowers. The presence or lack
thereof of blue
backprint is not relevant. Because the front image of the poster
appears on the back
of BG-30-RP-2, it can be
noted additionally that the back of the original does not
flouresce or glow
under black light. 11 53/64" x 24 3/8" and 11 27/32" x 24 17/64"

BG-30-RP-2 The second printing, a reprint, is on porous stock
similar to vellum. It has
no red backprint from the upper two red flowers. The back of the
reprint
flouresces or glows under
black light. 11 7/8" x 24 11/32"

BG-30-RP-3 The third printing is on uncoated index similar
to that used for Bill Graham
originals between number 54 and number 149. It does not have the
red
backprint. 11 53/64" x 24 9/32"

BG-30-OHB-A This handbill appears in two variants. The first is
on paper .0055" thick.
On this variant "In Advance: $3.00" and "At the Door: $3.50" are
in white letters
on blue background. The blue is a pure blue without the slight
green tinge of the
original poster. 4 1/4" x 8 11/32"

BG-30-OHB-B This variant handbill is .0080" thick. "In Advance:
$3.00 and "At the
Door: $3.50" appear in blue lettering on a white background.
This blue also is
relatively pure and lacking the slight green tinge of the
original poster. 4 5/16" x 8 1/4"

BG-30-RPC-C The postcard is on the .0080" stock of BG-30-RP-2.
Colors match
BG-30-RP-2. "In Advance: $3.00" and "At the Door: $3.50" appear
in blue letters
on a white background. This card was cut to two different sizes.
This one
measures c. 4 7/16" x 8 1/4". 4 7/16" x 8 19/64"

BG-30-RPC-E In 1977 Bill Graham Presents backstamped a number of
copies of
BG-30-RPC-C to use as a New Year’s card, "WARM WISHES FOR A
GREAT 1978; CHEERS,
BILL GRAHAM AND THE F.M. FAMILY. THIS IS AN ORIGINAL FILLMORE
HANDBILL PRINTED IN 1966." Actually it has a postcard reverse,
not a blank
(handbill) reverse. 4 7/16" x 8 9/32"

B. G. 30This poster is red, blue, white and black on a
blue background. It makes use of one of the morepopular psychedelic icons, a circle made up of
swirling arcs.

* Since this represents a substantial widening of
the definition of a BG-30 original, users of thisGuide are entitled to ask why this change has been
made. I acquired my own original from abulletin board in the Telegraph Avenue area of
Berkeley within a day or two after the concerts. Itis the blue/green variant. The four or five other
collectors I knew by mid-1967 all had copiesacquired in similar fashion. All were blue/green.
I later saw pure blue ones on the same paperstock, but I assumed these were later printings
because I never saw transitional copies whichwould indicate a change in ink during the press
run (When the printer did not have enough of aspecific ink for an entire press run, they would
often start with one color and when the inkreservoir ran low, they would add ink of a
slightly different color. This would produce posters of acolor part way between color one and color two.
When the reservoir again ran low, more of colortwo would be added producing a purely color two
variant. The existence of transitional copies,ones part way between two color variants, is
generally evidence of one printing during which thecolor of the ink was changed. ).

Recently I have seen several transitional copies.
I take this as clear evidence ofone printing, both blue/green and blue. All of
them are on the same paper stock, onecharacterized by a fine pattern of "rows" or
"woven" texture on the back. My experience hasbeen that this paper stock is difficult for most
people to distinguish, so I looked for anotherdistinguishing characteristic. What I found that
all the originals had in common but whichappeared on none of the reprints was the backprint
of the upper two red flowers. I also add
that the back of the original does not flouresce or glow under
black light while BG-30-RP-2
does.

I note in passing that previously this image was
one of only a handful in my Guide which wasdifferent from the catalog of Mr. Jacaeber Kastor.
He has long believed that the blue/green andpure blue variants on "rows" stock are parts of
the same press run, and I now agree with him.What this means is that if we were both asked to
sort a randomly chosen pile of 100 BG-30posters into originals, first reprints and second
reprints, we would sort them the same, and thisagreement is good news for collectors because it
increases the stability of the hobby.

Under BG-31 change the text to read:
BG-31-OP-1 The original printing has "October
16" across the photograph and a black background behind "14" and
"15". 13 17/32” x 23 5/8”
BG-31-RP-2 The second printing, a reprint, has
"October 16" across the photograph and a brown background behind
"14" and "15". 13 19/32” x 23 19/32”
BG-31-RP-3 The third printing deletes "October
16" across the photograph.
13 57/64” x 23 19/32”
BG-31-OHB-A The original handbill matches
BG-31-OP-1. 4 21/32” x 8 7/32”
BG-31-RPC-B The earlier postcard in silver
matches BG-31-RP-2. 4 41/64” x 8 13/64”
BG-31-RPC-C The later postcard in gold matches
BG-31-RP-3. 4 41/64” x 8 13/64”
(It is not a typographical error that these
copies of BG-31-RPC-B and
BG-31-RPC-C are exactly the same size.)
BG-31-RPC-D In 2010 I learned that there is a
variant of the postcard that matches
BG-31-RP-3. This variant has the “October 16”
across the photograph. The way to identify this variant is by
thickness. It is .0090” thick. Also the printingwith the date is
in gold ink. On
BG-31-RPC-B this printing is in silver-platinum
colored ink. Since this poster was printed with three postcards
alongside the poster, the explanation for the existence of a
substantial number of
postcards with the “16” but no posters is
that when altering the printing plateto remove the “16,” the
“16” was removed from the poster and two of the postcards, but
the "16" was left on the
plate, probably by accident, on one of the
cards. The other possibility is that the film was altered before
the burning of the plate for the gold ink, the "16" was removed
from the poster and two
of the postcards, but accidentally left on
one of the postcards.

B.G. 31 This poster is silver or gold, dark brown
and white on a light brown background. In the center is a
photograph of Big Mama Mae Thornton.

Change BG-32-OP-1 to read: "This item is on index
which is from .0075" to .0085" thick."

After BG-32-RP-5 add:

BG-32-PP-6 In 1999 I was shown a copy of a pirate
printing which was at least ten years old. It was printed on
slick/glossy coated stock unlike that used for any Bill Graham
poster from this period. It is characterized by an almost
complete loss of the dot screen background of the photograph
which is extensive on the legitimate printings.

Under BG-33 add "Gered Mankowitz (Photographer)"

Under BG-33 change the text to read:
logo and adds "Printing by West Coast Lithograph Co., SF" in the
right margin near the bottom. The stock of this version is
very similar to that of
BG-33-RPC-C. 13 61/64” x 20”
BG-33-RP-3 The third printing on slick, coated
stock less than.0060" thick deletes the union logo and retains the
West Coast credit. 13 31/32” x 19 63/64”
BG-33-PP-4 The pirate printing done in 1987 is
distinguished by the almost complete loss of gray tones from the
faces of the Yardbirds. On all the authorized posters the
faces are quite subtly shaded. On the pirate these areas are
white or black except for the right (viewer's right) side of the
right face which has some limited shading. 13 63/64” x 20 1/16”
BG-33-RP-5 In 2014 Dennis King
showed me a copy of this poster on a more porous stock
similar to vellum. It is .0085” thick. It also
deletes the union logo and retains
the credit “Printing by West Coast Lithograph
Co., SF” in the lower right margin. While examining what are now
the three versions of the lawful reprint, it
became apparent that this version is on
identical stock to BG-33-RPC-B.
Both have identical texture, and both fluoresce
or glow brightly under black
light. Since none of the reprints or postcards
are on the stock used for Bill
Graham originals from number 54 to 149, it is
reasonable to assume all these
versions of BG-33 were done before March 1967
which is only four months
after this event. Since it is extremely
unlikely Bill Graham would have had this
poster reprinted several times in only four
months, and since the cut sizes of
all these reprints are virtually identical, it
seems logical that they all represent
one printing on different stocks.
BG-33-OHB-A The original handbill on thin white
paper has union logo #221 in the lower left corner. 5 35/64” x 8
33/64”
BG-33-RPC-B One printing of the postcard
is on vellum c. 4 7/16 x 7 5/8". Some copies of this were
poorly printed and have a very muddy image. Some are
clear. No union logo appears.
4 29/64” x 7 39/64” and 4 7/16” x 7 39/64”
BG-33-RPC-C Another printing of the postcard is
on index c. 4 1/2" x 6 7/8". All known copies of this card
are printed clearly. No union logo appears.
4 1/2” x 6 27/32”
BG-33-RPC-D Some copies of BG-33-RPC-C failed to
get a backprint and are blank on the reverse. They are not
original handbills. They do not bear the union logo.
4 1/21” x 6 27/32”
BG-33-RPC-E While I have not seen a copy of a post
card backed version of this image on
stock similar to BG-33-RP-3, it would seem
possible that one exists.

Under BG-33-RPC-C change "vellum" to "index".

Under BG-36-OHB-A change "3 1/32"" to "3 3/8"."

Change the postcards section of BG-36 to read:

BG-36-RPC-D Before 1999 it was incorrectly
thought that all postcards of BG-36 had small lettering. This
item has small lettering. This item has the "P" in "Presented"
well to the right of the gap between the "B" and the "O" in
"Bola." This item is on .0080" stock. There is substantial color
variation among cards on this stock.

BG-36-RPC-E This item has small lettering. The
"P" in "Presented" is very slightly to the left of the gap
between the "B" and the "O" in "Bola." It has the shoulder
printing flaw. This item is on .0080" stock.

BG-36-RPC-F This item has small lettering. This
item has the "P" in "Presented" well to the right of the gap
between the "B" and the "O" in "Bola." It is on .0090" stock.
The cards on .0090" stock tend to be much more consistent in
color. This card matches BG-36-RP-3.

BG-36-RPC-G This item has small lettering. The
"P" in "Presented" is slightly to the left of the gap between
the "B" and the "O" in "Bola" It has the shoulder printing flaw.
This item is on .0090" stock. This card matches BG-36-RP-3. No
postcards are known to match BG-36-RP-4.

BG-36-RPC-H This postcard reverse item has large
lettering. It is on .0080" stock.

BG-36-RPC-I This postcard reverse item has large
lettering. It is on .0090" stock matching BG-36-RP-3.

After BG-37-RP-2 add:
BG-37-RP-3 In 2014 Wolfgang's Vault reprinted this
poster on slick, glossy stock in a press run of 500.
A"Wolfgang's Vault" credit appears in the lower right corner. 20
7/16" x 35 11/16"

After BG-37-RPC-D add
BG-37-OHB-E Some copies of BG-37-OHB-A were stamped with a rubber
stamp bulk mail permit, mechanically addressed and sent to people
on the mailing list.

Change the entire text of BG-38 to read:
BG-38-OP-1 The original of this poster was printed on at
least three different stocks of paper. It also varies
considerably in gray and yellow/orange. Each of the three
paper stock can
be identified by thickness and by response to black light on the
reverse.. This original is on stock between .0075" and
.0080" thick.
No original has
the mark described under BG-38-RP-4. Under black light the
stock of this poster is almost the same as it appears under
regular light.
13 15/32” x 21 5/64”

BG-38-OP-2 This original is on stock which is between .0080"
and .0085" in thickness. Under black light the reverse turns a
grayish purple. It does not have the mark
described under
BG-38-RP-4. 13 27/64” x 21 1/8”

BG-38-OP-3 This original is on stock between .0085”
and .0090" in thickness. Like BG-38-OP-2 under black light
the reverse turns grayish purple. It, too, does not
have the mark
described under BG-38-RP-4. 13 7/16 x 21 13/64”

BG-38-RP-4. This reprint was done during the period that
most other last reprints of early posters was done, and it is on
the same stock as most Bill Graham originals
from number 54
to number 149. This stock is .0090” thick. Locate the “T” in
“LOTHAR.” In the upper left corner of the left arm of the “T” is a
very
faint almost
horizontal line about 1/16” from the top and about 1/8” long. This
also appears on BG-38-RP-6. The yellow/orange varies substantially
and
the gray varies
slightly. Three different color variants were measured, and all
were identical within 1/64” 13 7/16” x 21”

BG-38-RP-6* In 2004 it was noticed that all originals and reprints
of this image except for one produce no floresence or glow under
black light. The back of this variant
reprint on
.0085” stock has a pronounced mottled glow under black light. It
has the mark in the “T” in “LOTHAR” described under BG-38-RP-4.
13 31/32” x 21
1/64”
In 2009 it was discovered that this printing was not a variant
original as I had thought, but it was a very early reprint which
dates before BG-38-RP-4.
Accordingly the designation BG-38-OP-6 has been changed to
BG-38-RP-6.

BG-38-RP-7 In 2010 the current copyright holder of these
Bill Graham posters, Wolfgang’s Vault, issued a large size reprint
of this image on glossy, coated stock.. It
bears the
notation “Wolfgang’s Vault” in white ink in the lower right
corner. 23 37/64” x 37 1/32”

BG-38-OHB-A The original handbill was printed only once.
Unlike the poster on which image color runs out to the edge, the
handbill has a white border. No copies of
this item are known to have been
mailed to people on the mailing list. This item does not change
color appreciably under black light. The stock matches
BG-38-OP-1. 5 5/64” x 7 27/32”

BG-38-RPC-B This postcard matches the handbill image. On the back
the stock fluoresces as does BG-38-RP-6. This card is a reprint. 5
5/64” x 7 27/32”

BG-38-OHB-D In 2014 it was discovered that some blank backed
handbills were on stock which turned grayish purple under black
light. These match BG-38-OP-2 and
BG-38-OP-3.

BG-38-OPC-E On 2014 it was discovered that some postcard backed
cards were on stock which turned grayish purple under black light
matching BG-38-OP-2 and
BG-38-OP-3. Other than the postcard backprint these are identical
to BG-38-OHB-D. These are the first small sized items to be
backprinted with the Bill
Graham backprint before the concerts.

B. G. 38 This poster is orange and black on a gray
background. The handbill and the postcard are two shades of
orange and black on a white background. The central image is a
robed human figure extending a large peace symbol toward the
viewer. This is the first image where the original printing bears
the correct number.

* * *
After BG-38-RP-5 add
* BG-38-OP-6 In 2004 it was noticed that all
originals and reprints of this image except for one produce no
floresence or glow under black light. The back of this variant
reprint on .0085” stock has a pronounced mottled glow under black
light. 13 31/32” x 21 1/64” In 2009 it was discovered
that this printing was not a variant original as I had thought,
but it was a very early reprint which dates before BG-38-RP-4.
Accordingly the designation "BG-38-OP-6" has been changed to
"BG-38-RP-6.

*
The evidence for BG-38-RP-6 being a reprint is conclusive. I had
thought it was an original because I had thought the handbills for
this image had been printed separately from the posters in the
manner of, for example, BG-33 because they did not match the
posters. They had no gray background. Also the paper stock of the
handbills I owned seemed to match the postcards, so I had thought
they were printed at the same time, that this was the first
postcard back item printed before the show. Now it is clear that
only some of the postcards match the stocks of some of the
originals. The stocks of the blank backed handbills all match one
or another of the stocks of the original posters.
The confusion was resolved
by my seeing the original printing plate which has the usual three
postcards along side the poster. The plate was burned in such a
way that the handbills/postcards did not get a gray imprint while
the posters did. This meant that there were handbills which
matched all three known original poster variants. I just had not
seen all of them, and since I had not used black light to
distinguish paper stocks when I did the original illustrated
edition of this guide in 1996, I had not noticed that the paper
stock of some of the postcards was actually quite different from
that of the handbills. It is now clear that the stock of some of
the postcards matches the stock of BG-38-RP-6, while the stocks of
the handbills do not. They match the stocks of BG-38-OP-1,
BG-38-OP-2 and BG-38-OP-3. In 2014 a postcard backed card sized
item was discovered matching BG-38-OP-2 and BG-38-OP-3.
Two other reasons make it
clear that BG-38-RP-6 is an early reprint. First, the inventory of
Wolfgangs Vault, which now in 2009 has the old Bill Graham
inventory, contains too many copies of this variant for them to
have been printed before the shows. Bill Graham Presents simply
was not saving that many copies of posters printed before the
shows this early in the era (This is similar to the way I was able
to determine that what I had previously designated as BG-21-OP-1
was also a very early reprint.).
Second, adding to the
evidence is the fact that the stock of BG-38-RP-6 is identical to
the stock of BG-35-RP-2, which always has been accepted as a very
early reprint. The printers in this period did not store large
quantities of paper in their shops. As Bill Graham ordered items
printed, they went out and bought paper to print just the
quantities he ordered. The paper stock of both BG-35-RP-2 and
BG-38-RP-6 is rather unusual in the way it fluoresces under black
light. It is reasonable to assume that Bill Graham ordered the
reprinting of BG-35 and BG-38 at the same time, and that the
printer bought paper to print both at the same time. Since the
postcards of BG-35 match the stock of BG-35-RP-2, and there is no
chance that these postcards predate the shows, it is logical that
the same situation is involved with BG-38. These postcards came
after the show which means the posters which match them also came
after the shows.
In 2014 a reliable means of
distinguishing BG-38 originals from BG-38 reprints was discovered.
None of the originals has the following mark in the “T” in
“Lothar.” On the reprints except for BG-38-RP-5 in the upper left
corner of the left arm of the “T” in “LOTHAR” there is a faint,
almost horizontal line about 1/8” long about 1/16” down from the
top of the “T.” This was checked on several dozen originals as
well as hundreds of reprints, and it proved true in all cases. At
the same time further research was done on postcards and
handbills, and a new original handbill and a new original postcard
were also discovered. The author of this Guide would like to thank
Grant Feichtmeir of Wolfgangs Vault for his assistance in this
matter.

After BG-38-RP-6 add:
BG-38-RP-7 In 2010 the current
copyright holder of these Bill Graham posters, Wolfgang’s Vault,
issued a large size reprint of this image on glossy, coated
stock.. It bears the notation
“Wolfgang’s Vault” in white ink in the lower right corner. 23
37/64” x 37 1/32”

Under BG-40 change cards and handbills to read

This guide previously did not identify the
numerous variants of this handbill and card. There was no
recognition of the fact that the three small images which were
printed next to the poster size were all
recognizably different. Further complicating this was the fact
that inks were changed in each run
so each paper stock has different color variants and the fact
that cut sizes varied during the runs. Since I believe it would
be irresponsible to change the numbering which already exists, I
have been forced to add the additional information by adding to
each item already listed, then adding new items at the end. This
leads to the following listings which are not logically
sequenced when read alphabetically. If the following section is
read in the following order, it will have the necessary logical
consistency:
A,B,E,F,K,L,H,R,I,T,C,M,G,O,P,Q,D,J,U.

BG-40-OHB-A All small size of this image have
the word "Love" the same color as
the
background. This item has the background yellow characteristic
of BG-40-OP-1. One third of the yellow background handbills
have a 4 1/2" long white arc which is 3/32" deep at its
deepest running from near the top down the right border of the
image. On these handbills the second "E" in "FREE" is white. 4
1/2" x 7 5/8"

BG-40-OHB-B Some copies of BG-40-OHB-A were
stamped with a rubber stamp bulk
rate permit, hand addressed and
sent to people on the mailing list.

BG-40-OHB-C This handbill has an olive green
background and is parallel to BG-40-OP-3. It has the white arc
described under BG-40-OHB-A. The second "E" in "FREE" is
white. 4 15/32" x 7 5/8"

BG-40-RPC-D This postcard is on .0090" stock
similar to that used for Bill Graham originals
from number 54 to number 149. It has the white arc described
under BG-40-OHB-A. The second "E" in "FREE" is white. 4 7/16"
x 7 5/8"

BG-40-OHB-E This item has a yellow background
characteristic of BG-40-OP-1. It does not have the white arc
described under BG-40-OHB-A. The second "E" in "FREE" is
yellow. In the circle left of the "2" of "December 2" is a
3/16" long oblique line. There is a lot of printing flaw blue
on the circle left of the "L" in "Lee." 4 1/2" x 7 39/64"

BG-40-OHB-F Some copies of BG-40-OHB-E were
stamped with a rubber stamp bulk rate
permit, hand addressed and sent to people on the mailing list.

BG-40-OHB-G This handbill has an olive green
background and is parallel to
BG-40-OP-3. It does not have the white
arc described under BG-40-OHB-A. The second "E" in "FREE" is
olive. In the circle left of the "2" of "December 2" is a
3/16" long oblique line. There is a lot of printing flaw blue
on the circle left of the "L" in "Lee."

BG-40-OHB-H This handbill has an olive green
background and is parallel to
BG-40-OP-2. It has the white arc
described under BG-40-OHB-A. The second "E" in "FREE" is
white.

BG-40-OHB-I This handbill has an olive green
background and is parallel to
BG-40-OP-2. It does not have the white
arc described under BG-40-OHB-A. The second "E" in "FREE" is
olive. It does not have the line in the circle described under
BG-40-OHB-E or the printing flaw blue in the circle left of
the "L" in "Lee." 4 37/64" x 7 3/4"

BG-40-RPC-J This postcard is on .0090" stock
similar to that used for Bill Graham originals from number 54
to number 149. It does not have the white arc described under
BG-40-OHB-A. The second "E" in "FREE" is olive. In the circle
left of the "2" of "December 2" is a 3/16" long oblique line.
There is a lot of printing flaw blue on the circle left of the
"L" in "Lee." 4 7/16" x 7 5/8"

BG-40-OHB-K This item has a yellow background
characteristic of BG-40-OP-1. It does not have the white arc
described under BG-40-OHB-A. The second "E" in "FREE" is
yellow. It does not have the line in the circle described
under BG-40-OHB-E or the printing flaw blue in the circle left
of the "L" in "Lee."

BG-40-OHB-L Some copies of BG-40-OHB-K were
stamped with a rubber stamp bulk rate
permit, hand addressed and sent to people on the mailing list.

BG-40-OHB-M Some copies of BG-40-OHB-C were
stamped with a rubber stamp bulk
rate permit, hand addressed and
sent to people on the mailing list.

BG-40-OHB-N This handbill has an olive green
background and is parallel to BG-40-OP-2. It
does not have the white arc described under BG-40-OHB-A. The
second "E" in "FREE" is olive. In the circle left of the "2"
of "December 2" is a 3/16" long oblique line. There is a lot
of printing flaw blue on the circle left of the "L" in "Lee."
4 1/2" 7 31/64" and 4 37/64" x 7 47/64"

BG-40-OHB-O Some copies of BG-40-OHB-G were
stamped with a rubber stamp
bulk rate
permit, hand addressed and sent to people on the mailing list.

BG-40-OHB-P This handbill has an olive green
background and is parallel to
BG-40-OP-3. It does not have the
white arc described under BG-40-OHB-A. The second "E" in
"FREE" is olive. It does not have the line in the circle
described under BG-40-OHB-E or the printing flaw blue in the
circle left of the "L" in "Lee." 4 31/64" x 7 45/64"

BG-40-OHB-Q Some copies of BG-40-OHB-P were
stamped with a rubber stamp
bulk rate
permit, hand addressed and sent to people on the mailing list.

BG-40-OHB-R Some copies of BG-40-OHB-H were
stamped with a rubber stamp
bulk
rate permit, hand addressed and sent to people on the mailing
list.

BG-40-OHB-S Some copies of BG-40-OHB-N were
stamped with a rubber stamp
bulk rate permit,
hand addressed and sent to people on the mailing list.

BG-40-OHB-T Some copies of BG-40-OHB-I were
stamped with a rubber stamp
bulk
rate permit, hand addressed and sent to people on the mailing
list.

BG-40-RPC-U This postcard is on .0090" stock
similar to that used for Bill
Graham
originals from number 54 to number 149. It does not have the
white arc
described
under BG-40-OHB-A. The second "E" in "FREE" is olive. It does
not have the line in the circle described under
BG-40-OHB-E or the printing flaw blue in the circle left of
the "L" in "Lee." 4 7/16" x 7 13/16"

Under BG-43-OHB-A change the text to read: "This handbill
matches BG-43-OP-1 except that the "Wes Wilson" credit is pink.
Under BG-43-OPC-C add to the text, "This postcard matches
BG-43-OHB-A."
Under BG-43-OPC-C change the last sentence to read:

Some evidence exists that a least some copies of
BG-43-OHB-A were folded into copies of the next mailer,
BG-44-OHB-A and mailed stapled together, possibly with a copy of
the MacLean handbill included, and a few of these are currently
known to exist.
4 29/64" x 7 19/64" and 4 29/64" x 7 13/64"

Under BG-44 change the text to read:

BG-44-OP-1-A There is an almost bewildering
variety to copies of this poster. The lettering varies in
steps from pure gray to a rich purple/blue. On some copies
the hair of the figure matches the lettering. On others the
hair is much darker. The pink of the background varies from
light to dark. Stock used varies from .0080" to
.0105". Paper types run from porous vellum to index.
This is the "Monday/Friday, go buy more paper and ink" syndrome
taken to its utmost extreme. There are substantial
variations among the handbills to match the posters. It is
reasonable to assume that all of these are originals, with only
the exception described under BG-44-RP-2. 13 49/64” x 23 55/64”
and
13 27/32” x 23 3/4”
In 2014 it was pointed out to me that the
descriptions on the Wolfgangs Vault
site listed separately each of the three paper
stocks on which the original printing of BG-44 was printed. While
I have known about these for decades, I never
listed them because there already was so much
potential confusion because of
the color variations, but since the scholar who
maintains the Wolfgangs Vault
and I have concluded that we should try to see
that there are no disagreements
between the site he maintains and my Guide, I will now list the
three dif
ferent
paper stocks of BG-44 separately following the lead of his site.
The first
original printing is on stock that has a distinct woven or rows
pattern on the back. The linear dimensions of this item vary, but
the
dimensions on the Wolfgangs Vault site are a reasonable average.
13 13/16”
x 23 3/4” The thickness of this stock is .008”.
BG-44-OP-1-B This version also varies
dramatically in color. The stock is thicker and
coarser
without the woven/rows texture on the back. It does not glow or
fluoresce
on the back under black light. This lack of glow under black
light is
the means to distinguish this item from BG-44-OP-1-C.
13 13/16”
x 23 3/4”
BG-44-OP-1-C
This variant does not show woven or rows
texture on the back. It does
fluoresce
brightly on the back when held under black light.
13 7/8” x
23 11/16”
BG-44-RP-2
Since the paper stock used to print Bill Graham originals from
number 54
to 149 was never used to print originals before number 54, any
copies of
BG-44 on this stock would be reprints. Such copies do exist.
They are
characterized by the usual hard, uncoated index surface of this
stock.
Unfortunately the stock used for the reprint also has a woven or
rows
texture
on the reverse which could lead to them being confused with
copies of
BG-44-OP-1-A which is the only original with a woven or rows
textured
reverse. Fortunately these copies are on stock .009” to .0095” in
thickness
so the can be distinguished by this trait from BG-44-OP-1-A
which is
substantially thinner at .008”. In 2010 I had occasion to look at
several
hundred copies of the reprint. All of them had some degree of a
horizontal blue smudge through the word “Tickets” in the lower
left
corner.
This may prove to be the best signifier for the distinction
between
BG-44
originals and BG-44 reprints because no original I have seen has
had this
smudge. 13 3/4” x 23 45/64”
BG-44-OHB-A The varieties described under BG-44-OP-1 are
matched by the varieties among the handbills. 4 39/64” x 7 59/64”
and 4 43/64” x 7 29/32”
BG-44-OHB-B Some copies of BG-44-OHB-A were hand
stamped with a rubber stamp bulk rate permit, addressed by
addressograph and mailed to people on the mailing list.
BG-44-OPC-C Since postcards appear on the same
stocks as handbills, it is reasonable to assume they were back
printed before the concert. No copies of the postcard are
known to exist on the stock used for Bill Graham originals from
number 54 to number 149. 4 43/64” x 7 29/32” and 4 43/64” x 7
31/32”
B. G. 44
This poster is gray and purple on a pink background. There
is considerable variation in the tones of the gray and the pink
from light to dark. The central image is a woman’s
face. This poster announces the first major San Francisco
Bay Area appearances of the Doors.

* * *

After BG-45-RP-4 add
BG-45-PP-5 In 2003 an
unauthorized use of this image was made by someone who
produced what they called a “Giclee” print. It was substantially
larger than the
size of usual Fillmore posters, and a white border was added, but
it was
cropped
along
the
bottom
so
as
to
eliminate
the
ticket
outlets
strip.
Colors
were
somewhat
paler
than
the
correct
green
and
bluish
purple.
It
is
unknown
how many of these were produced before they were ordered by
the copyright
holder to cease and desist. 17 57/64” x 24 3/64”

After BG-45-PP-5 add
BG-45-RP-6 In 2013 the current copyright
holder, Wolfgang's Vault, reprinted this poster with a Wolfgang's
Vault credit in the lower right corner. 23 1/8" x 36"

Under BG-45 notes add the following:
By May of 2006 there were only two remaining differences between
this Guide and the printing history of this material according to
the archivist of www.wolfgangsvault.com. BG-45 was one of these two.
I went to the vault and presented my evidence regarding BG-45 to
their archivist, and after we examined both posters in their archive
and items I brought with me, he agreed to change their listings to
conform with mine. Since this is a significant change for them, I
believe the readers of this Guide are entitled to know what that
evidence is.
Both BG-45-OP-1 and BG-45-OP-2 vary greatly in color. The purples in
particular differ drastically from light purple to dark bluish
purple on both BG-45-OP-1 and BG-45-OP-2. Preconcert copies of BG-45
posters were printed on a sheet with three small versions of the
image arranged vertically along the side of the poster. For this
reason copies of cards exist which match all the variations of the
posters.
I did most of my collecting of variations from the late 1960s
through the mid 1970s when this material was readily available and
low priced compared to today’s values. Because I was fascinated with
the color variations, I saved quite a few of them, more than half a
dozen posters and as many cards and handbills. When I did my most
recent study of BG-45, I noted that two different paper stocks were
used on the items I list as originals in this Guide. The back of one
floresces or glows under black light. The other does not. Copies of
OP-1 are on the florescent stock, and copies of OP-2 are on the
non-florescent stock.
I have two copies of the mailer of this card, ones with a backprint
with a bulk mail permit. These copies both have been addressed with
an addressograph machine and mailed to people on the mailing list.
Both clearly predate the concert. One copy is on the florescent
stock. This means that posters on the florescent stock (BG-45-OP-1)
predate the concerts and are originals printed before the event. The
other copy is on the non-florescent stock. This means that posters
on the non-florescent stock (BG-45-OP-2) predate the concerts and
are originals printed before the event.
Furthermore I have blank backed handbills on both stocks. Blank
backed handbills were only printed before the concerts. This is
further confirmation that posters on both stocks predated the
concerts and are original printings.

Under BG-48 change BG-48-OP-2 to read, "This poster has dot screen
lettering and no green imprint."

Under BG-48 notes add:
By May 2006 there were only two remaining differences between this
Guide and the Bill Graham Presents printing history according
to the archivist of www.wolfgangsvault.com. BG-48 was one of these
two. I went to the vault and presented my evidence regarding BG-48
to their archivist, and after we examined both posters in their
archive and items I brought with me, he agreed to change their
listings to conform with mine. Since this is a significant change
for them, I believe the readers of this Guide are entitled to know
what that evidence is.
All known copies of BG-48 were printed on a sheet with three small
versions of the image ar-
ranged vertically alongside the poster. For this reason copies of
cards exist which match all the
variations of the poster. Two different paper stocks were used to
print BG-48 posters. One is an
index which is about .0080” to .0085” thick. This is different from
the index used on Bill Gra-
ham originals from BG-54 to BG-149 which is .0090” thick or thicker.
The other is a vellum
which is .0090” thick and similar to the vellum used on numerous
Bill Graham Presents posters prior to this one and which was used on
BG-49, BG-50, BG-51, BG-52 and BG-53 but never again after that.
It has long been agreed that BG-48-OP-4 is an original. I am in
possession of two different
BG-48 cards which were addressed on an addressograph machine and
sent to people on the mailing list which match BG-48-OP-4 both in
configuration and in paper stock which was the index stock. This
means that BG-48-OP-4 posters existed prior to the event because
they match cards which existed prior to the event because mailers
only were printed prior to the event. Since all that BG-48-OP-2 is
is BG-48-OP-4 without the green impression, BG-48-OP-2 also long has
been agreed to be an original.
The differences arose concerning BG-48-OP-1 and BG-48-OP-3, the ones
on the vellum stock. All that BG-48-OP-3 is is BG-48-OP-1 with an
additional green impression which was done last. As I stated above,
this vellum stock was only used on the next five poster and then not
used again. Between BG-53 and BG-54 Bill Graham Presents changed
printers, and the new printer was much more consistent in the choice
of paper stock than previously had been the case. From BG-54 to
BG-149 the same uncoated index was used. All reprints done in the
period between BG-54 and BG-149 were also done on this uncoated
index. For example, BG-24, BG-38, BG-45 etc. were all reprinted on
this stock. What this means is that if BG-48-OP-1 and BG-48-OP-3
were reprints, they would have had to have been reprinted within the
five weeks following the concert but before BG-54. Since the only
reason for reprinting was for resale, the only time posters were
reprinted was when the inventory of a poster ran low. Since the
original press run of BG-48 was 3,500, many of which were not
distributed to promote the concerts but were held back for later
resale, it is hard to imagine these sold so quickly that the
inventory ran out in five weeks necessitating reprinting after so
short a time.
Adding to the argument that BG-48-OP-1 and BG-48-OP-3 are originals
is the fact that the card which matched BG-48-OP-1 is blank backed.
All known reprint cards have some form of Bill Graham Presents
backprint. In all previous cases blank backed handbills only were
printed prior to the event for distribution to promote the concerts.
Since BG-48-OP-1 and BG-48-OP-3 were printed together, then if
BG-48-OP-1 is an original, then BG-48-OP-3 is an original.
Still another argument adding to the conclusion that BG-48-OP-1 and
BG-48-OP-3 are originals is the fact that they involve substantial
experimentation with color and dot screen. It is agreed by all the
experts that the printers never experimented with color or design.
They simply printed what they were told to print by the artist. Only
the artists experimented in these ways. Wes Wilson, the artist who
created this design, states specifically that he never oversaw the
printing of reprints. He only oversaw the printing of originals,
ones printed before the event. Since the printers did not experiment
and this poster involved major experimentation and Wes Wilson did
not oversee printing of reprints, BG-48-OP-1 and BG-48-OP-3 can not
be reprints.
I believe that taken together this evidence is conclusive that all
BG-48 posters are original printings, ones printed before the event
with the intention of distribution to promote the concerts.

Under BG-49 add "Jimmy Reed" to acts

Under BG-49 change cards to read

BG-49-PC-A This item has a place stamp here
reverse. To the right of the "O" in "Trio" and the "M’s" in
"2PM" and "7PM" is a long, narrow shape the upper end of which
is rounded. At its widest this shape is 1/16" wide. The right
edge of this shape is a single convex arc. 4 5/16" x 8"

BG-49-PC-B This item has a bulk rate permit
reverse and the shape described
under BG-49-PC-A. 4
31/32" x 8 5/64"

BG-49-PC-C Some copies of BG-49-PC-B were
mechanically addressed and sent to people on the mailing list.

BG-49-PC-D This item has a place stamp here
reverse. To the right of the "O" in "Trio" and the "M’s" in
"2PM" and "7PM" is a long, narrow shape the upper end of which
is rounded. At its widest this shape is at least 1/8" wide,
much wider than the shape described
under
BG-49-PC-A. Unlike the shape described under BG-49-PC-A which
has a right edge which is a single convex arc, this item has a
right edge which is a compound arc made up of an
upper section which is concave and a lower section
which is convex. There is a sharp point where they
meet. To the left of the "F" in "Fillmore" are four long,
narrow shapes. On this item the upper left edge of
the smallest of these four shapes forms two tiny "hooks." 4
29/32" x 8
1/16"

BG-49-PC-E This item has a bulk rate permit
reverse and the shape described
under BG-49-PC-D.

BG-49-PC-F Some copies of BG-49-PC-E were
mechanically addressed and sent to people on the mailing
list.

BG-49-PC-G This item has a place stamp here
reverse. It has the 1/8" wide shape described under
BG-49-PC-D, but the upper left edge of the smallest of the
four shapes also described under BG-49-PC-D forms
a single continuous convex arc. There are no "hooks." 4 57/64"
x 8"

BG-49-PC-H This item has a bulk rate permit
reverse and the shapes described
under BG-49-PC-G. 4
61/64" x 8"

BG-49-PC-I Some copies of BG-49-PC-H were
mechanically addressed and sent to people on the mailing
list.

After BG-51-RP-2 add
BG-51-RP-3 In 2006 the new owner of
the Bill Graham Presents copyrights, Wolfgang’s
Vault, reprinted six of the numbered
Fillmore/Fillmore West posters. Each was
printed in two different sizes on two different
stocks. All bear the credit
“Wolfgang’s Vault” in the lower right corner.
This item is the smaller version on uncoated index. 13 43/64” x 22
25/64”
BG-51-RP-4 This item is the larger
version on glossy, coated stock. 19 3/4” x 32 1/2”

After BG-51-RP-4 add:BG-51-PP-5 In 2011 a pirate
selling through www.amazon.com bootlegged this poster. It is on
slick, glossy stock with a white border. The size is a
distinguishing characteristic.
12"
x 18 1/64"
After BG-51&52-OHB-D add:

BG-51-PC-E This card is identical to BG-51-PC-A
except it is missing the letters "TIC" of the word "TICKETS" at
the left of the ticket outlets strip.

Add to BG-51&52-OHB-B "The hat of the figure
to the viewer's right in BG-52 is dark red."

After BG-51-PC-E add:

BG-51&52-OHB-F This handbill is identical to
BG-51&52-OHB-B except the hat of the figure to the viewer's
right in BG-52 is gray.

BG-51&52-PC-G Some copies of
BG-51&52-OHB-F were imprinted on the reverse with a bulk
mail permit, West Coast Litho credit and Fillmore Auditorium
address.

BG-51&52-PC-H Some copies of
BG-51&52-PC-G were mechanically addressed and sent to
people on the mailing list.

Add to BG-52-PC-A:

All copies of the "place stamp here" reverse card
have the red hat. (See BG-51&52-OHB-B and
BG-51&52-OHB-F.)

Under BG-53 change acts to read:

"Otis Rush & his Chicago Blues Band

The Mothers

Morning Glory"

Under BG-53 change the dates to read 3/3-5/67.

Under BG-53-PC-B and BG-53-PC-E change “blue” to “blue/green” and
“red” to “red/rust.”

Eliminate the current section under BG-53-PC-G and change it to
read:

"Some copies of BG-53-PC-D were mechanically addressed and sent to
people on the mailing list."

Under BG-54 add "Jimmy Reed" to acts.

Add to BG-54-PC-A "The chin of the lower face is the same color
as the rest of the face."

Add to BG-54-PC-B "The chin of the lower face is the same color
as the rest of the face."

After BG-54-PC-C add:

BG-54-PC-D

Two variants of this postcard exist. Both predate the
concert. The chin of the lower face of this variant is an
entirely different color than the rest of the face. This
postcard has a place stamp here reverse.

BG-54-PC-E

On this variant the chin of the lower face is an
entirely different color than the rest of the face. This
postcard has a bulk mail permit reverse.

BG-54-PC-F

Some copies of BG-54-PC-E were mechanically addressed
and sent to people on the mailing list.

Add to BG-54-OP-1 "The chin of the lower face is the same color as
the rest of the face."

Delete the acts listed and replace with:

"Chambers Brothers

Quicksilver Messenger Service

Sandy Bull"

Under BG-56 change BG-56-PC-I to read: “In 2002
Jim Northrup showed me a copy of BG-56-PC-F which had been
mechanically addressed and sent to someone on the mailing list.”

Change BG-57-OP-1 to read:

BG-57-OP-1 It has long been believed that there
were two printings of BG-57 poster because there are two
separate printings of the postcard, the first with a West Coast
Litho backprint, the other with a Creative Litho backprint.
Unfortunately paperstocks of both cards are the same, and colors
vary and overlap. Until recently no distinguishing
characteristic was known to separate original posters from
reprints so all have been classified as originals. Recently Brad
Kelly came up with a means of distinguishing one group of
posters from the other. While it is not absolutely certain which
is the original since neither can be tied to the West Coast
card, there seems to be a good case that the following is the
first, however, a prudent collector seeking to have a set of all
originals would be wise to have one of each in case later
evidence points the other way. On the poster thought to be the
original in the center of the "P" in "April" there is a small,
orange blob over the blue background behind the center of the
letter. This blob is approximately 1/16" x 3/16". The black left
margin at its narrowest next to the bulge of the second "BYRDS"
is only 3/32" wide on these posters.

BG-57-RP-2 On the reprint the blob described
under BG-57-OP-1 is missing. It has been replaced with a very
narrow 1/64" wide line of orange overlapping the blue on the
left side of the middle of the "P." This line is 3/16"
long--Brad Kelly's logic is that the blob was a mistake not
noticed until the first printing was complete. The narrow line
on BG-57-RP-2 is what was left of the blob after the printer
cleaned up the plate. If the blob was a mistake on the second
printing, why would the line be on the first? The black left
margin at its narrowest next to the bulge of the second
"BYRDS" is over 3/16" wide on these posters.

After BG-57-RP-2 add
BG-57-RP-3 In 2013 the current copyright holder,
Wolfgang's Vault, reprinted this poster with a Wolfgang's Vault
credit in the lower right corner. 22 3/8" x 36"

Under BG-58 change the date to read "4/7-9/67."

Change the entire text of BG-61 to read:
BG-61-OP-1 One original printing of this poster is
chartreuse. In 2009 it was learned that during the printing of this
poster some copies were printed on one side of the paper stock, and
some copies were printed on the other side of the same paper stock.
This stock had one “smooth” or “random” textured side and one “rows”
or “woven” textured side. This variant was printed on the “smooth”
side so the back has a “rows” texture. (See notes at the end
of this poster.)
14 1/32” x 21 29/64”
BG-61-OP-2 In 1998 it was learned that there were
not two separate early printings of this poster, an original and a
reprint, but that the color of the ink was changed during the run of
a single printing. The evidence of this is that cards were
discovered which were neither yellow nor chartreuse but a series of
progressive steps between one and the other indicating a mixing of
ink during one print run, something which occurred occasionally when
the printer ran out of ink during the print run and substituted a
similar but not identical ink for the remainder of the run. The
silver color also varies from pure silver to silver with gold mixed
in with it. All posters of this image except BG-61-RP-3 should be
considered originals. This item is yellow. This variant has a “rows”
texture on the back.
13 61/64” x 21 13/32”
BG-61-PP-3 In 1990 Pyramid Books in England
pirated this image. The top inch with "Bill Graham Presents in
San Francisco" is cut off. Dimensions are
c. 11 7/8" x 17 1/2". Stock is high gloss
coated. In 1997 it was learned that this was a properly licensed
reprint, not a pirate. 11 55/64” x 16 33/64”
BG-61-OP-4 This variant is a
chartreuse color. It has a “smooth” texture back.

After BG-61-OP-4 add:
BG-61-PP-5 In 2011 a pirate
selling on www.amazon.com bootlegged this poster. It is on
slick, glossy stock and has a white border not on
the original. The distinguishing characteristic of this bootleg is
size which is a lot smaller than genuine
copies. 12” x 18 1/64”

BG-61-OPC-A This is a chartreuse postcard with a
place stamp here reverse. It is printed on the smooth side of the
stock so it has a “rows” texture back. 4 33/64” x 8”
BG-61-OPC-B This variant is a chartreuse postcard
with a bulk rate permit reverse. It has a “rows” texture back. 4
33/64” x 8”
BG-61-OPC-C Some copies of BG-61-OPC-B were
mechanically addressed and sent to people on the mailing list.
BG-61-OPC-D This is a yellow postcard with a place
stamp here reverse. See correction for BG-61-RP-2 (Now BG-61-OP-2).
All cards of this image should be considered originals. This card
has a “rows” texture back. 4 35/64” x 8”
BG-61-OPC-E This is a yellow postcard with a bulk mail
permit reverse. This variant has a “rows” texture back. 4 1/2”
x 8”
BG-61-OPC-F Some copies of BG-61-OPC-E were
mechanically addressed and sent to
people on the mailing list.
BG-61-OPC-G This chartreuse postcard with a place stamp here
back is printed on the “rows” textured side of the same stock as the
other variants so it has a “smooth” textured back. It matches
BG-61-OP-4

B. G. 61
This poster is either yellow or chartreuse and silver or silver/gold
on a black background. Variations are due to the fact that the
colors of the inks were changed during the press run. The central
image is a fantasy face of a figure with a long headdress which
forms part of the lettering. In one way it is very unfortunate
that Wes Wilson was about to have a dispute with Bill Graham which
led to Wes no longer producing images for the Fillmore concerts
because most of the designs he created at this time were some of the
most brilliant works of graphic art created in this century, the
mature work of a genius.
In 2009 someone pointed out to me that some copies of BG-61 posters
were on stock which had “rows” or “woven” texture backs and some
copies were on stock which had “smooth” or “random” texture backs.
This person asked me whether I thought that one was an original and
one was a reprint or both were originals only different variants.

The first thing I did was check whether there
were postcards which matched both of these varieties. There were. I
noticed that both kinds had a back print credit stating that the
printing had been done by Creative Litho Co. of Oakland. Creative
Litho Co. only printed originals from BG-58 to BG-65. BG-57 original
was printed by West Coast Litho, and Tea Lautrec Litho took over
printing for Bill Graham Presents with concert number 66. I also
note that BG-59 was printed by the artist who created it, Peter
Bailey, at East Wind Printers. It also should be noted that the
color of both versions of this poster varies substantially along a
gradual spectrum from pure yellow to bright chartreuse.

By means of identifying several very tiny print
flaws which are present in varying degrees on numerous copies of
both varieties, I was able to establish that both varieties, “rows”
back and “smooth” back, were printed with the same printing plates.
This was confirmed by very precise measurements done across the
images. Of course, this does not prove that one group was not
printed after the concert, but if it could have been shown that
different printing plates had been used, that would have been good
evidence for two printings, very probably one before the concerts
and one after.

Since we know that the posters and postcards in
this period were printed on one sheet with three cards vertically
alongside one poster, the next step was to examine several postcards
which had been back printed with the Bill Graham Presents bulk mail
permit, addressed with his addressograph machine and sent to people
on the mailing list. If copies of both “rows” back and “smooth” back
could be found, that would prove that both versions existed before
the concerts and were originals. Unfortunately there only were
“rows” back mailers in the small group of mailers I was able to
locate. This does not prove that “smooth” back did not predate the
concert, only that it did not appear in this small group of mailers.

I then went to Wolfgangs Vault where the owner
allows me to do research using the Vault’s extensive collection and
inventory. Also, there I have the benefit of collaborating with
Grant Feichtmeier who has become very knowedgeable about this
material. One of the possibilities I wanted to check there was did
any of the “smooth” back posters have a “rows” texture front, that
is, was it possible that the “smooth” back cards and posters simply
were sheets of the same stock fed into the press with the “rows”
side up instead of down. Were they printed on the other side of the
same stock. Although it is a bit more difficult to identify “rows”
texture that has been covered completely with ink (There are no
areas of unprinted white on this poster.) than it is to identify on
an unprinted back, Grant and I were able to discern that numerous
copies of “smooth” back BG-61 posters and cards had a “rows” texture
on the front.

It should be noted here that not all stock with a “rows” or “woven”
texture is the same. For example, different stocks with “rows” or
“woven” texture on one side will glow or floresce differently or not
at all under black light. I examined originals of BG-60 and BG-62,
and both were printed on stock with “rows” back, but both looked
different from each other and from BG-61 “rows” back under black
light. The reasonable conclusion from this is that Creative Litho
Co. did not maintain a large inventory of paper stocks but probably
went to a paper dealer and bought paper for each job as it came in.
This means that the situation at Creative Litho Co. was not like
that at Tea Lautrec Litho where Levon Mosgofian bought a semi
trailer load of one stock of paper for Bill Graham, stored it and
used it for almost all originals from BG-150 to BG-287. This is in
contrast to earlier printers who went to paper dealers for each job
and often (See BG-38.) used several different stocks for one
original printing of one poster.

At this point I thought evidence leaned toward
“rows” back and “smooth” back being variants of one pre concert
printing, but I found the evidence was not dispositive. I had to
come up with another way of letting the posters speak for
themselves.
Then it occurred to me that paper that is not coated on either side
(The paper on which BG-61 was printed is not coated on either side.)
would floresce the same under black light on either side because no
matter which side you were looking at, you would be looking at the
same material. Under black light I looked at the backs of several
copies of both “rows” back and “smooth” back BG-61 posters. All
clearly floresced the same. Obviously this demonstrated that BG-61
“smooth” back simply is a variant of BG-61 printed on the same paper
stock as BG-61 “rows” back only printed on the other side of the
same paper stock. Finally I compared these under black light to the
backs of several mailers which had been sent to people on the
mailing list which I had examined earlier, and I found that they
were on the same stock as the mailers. This proves that “smooth”
back posters predate the concerts and are originals just as are
“rows” back.

One interesting thing I discovered while studying
this poster is that under black light the silver ink floresces in a
bright purple color which produces a very beautiful effect
contrasting well with the chartreuse and black parts of the image.
Since Wes Wilson again used silver ink for the reprint of next
poster, BG-62, I think he deliberately used this silver ink which
floresced purple under black light because he was aware of this
beautiful effect.

Under BG-62-RP-3 add:
Some copies of this poster were folded in quarters and distributed
in the Spring 1971 issue Vol. 3 No. 1 of New Haven Rock Press
edited by Jon Tiven. The cost was 25 cents.

After BG-62-RP-3 add:
BG-62-RP-4 In 2014 Wolfgang's Vault reprinted the
original version of this poster on slick, glossy stock in a press
run of 500. A "Wolfgang's Vault" credit appears in the lower left
corner.
20 13 /2"
x 34 5/32"

Under BG-62-OPC-E and BG-62-OPC-F add “On some copies of this
card the green is tinged with yellow.”
After BG-66-PC-C add:

BG-66-PC-D In 1999 a copy of the "Place Stamp
Here" square reverse was found with the "Place Stamp Here"
square hand stamped with a rubber stamp for the Fillmore
Auditorium bulk mail permit No. 8902. This copy was mechanically
addressed and sent to someone on the mailing list. It would be
reasonable to presume other similar copies exist.

Under BG-68-OP-1 add "legally" before "printed."

After BG-68-OP-1 add

BG-68-PP-2 The pirate printing represents a drastic
alteration of the image. The Bill Graham credit at the top is
eliminated and so is the ticket outlets strip at the bottom, but
most notable is the change in colors. The original purple on an
orange background which extends to the border is changed to a
white border with black lines and color produced by a split
fountain technique which has rust at the top and yellow at the
bottom all on an aqua/blue background.

After BG-68-PP-2 add
BG-68-RP-3 In 2010 the current copyright holder of
these Bill Graham posters, Wolfgang’s Vault, issued a large size
reprint of this image on glossy, coated stock. It bears the notation
“Wolfgang’s Vault” in white in the lower right
corner. 23 9/32” x 37”

Under BG-69 change date to "20-25."

Under BG-69-OP-1 add "legally" after "printed."

After BG-69-OP-1 add:

BG-69-PP-2 The pirate printing represents a drastic
alteration of the image. The Bill Graham Presents credit is
eliminated at the top and so is the ticket outlets strip and
artist’s credit at the
bottom, but most notable is the change of colors. The original
purple on an orange background which extends to the border is
changed to a white border with black lines and color produced by a
split fountain technique which has violet at the top, yellow in
the middle and blue/green at the bottom. 14 3/4" x 22 1/64"

After BG-69-PP-2 add
BG-69-RP-3 In 2010 the current
copyright holder of these Bill Graham posters, Wolfgang’s Vault,
issued a large size reprint of this image on glossy, coated stock.
The notation “Wolfgang’s
Vault” appears in white in the lower
right corner. 23 5/16” x 37 1/32”

After BG-69-RP-3 add:
BG-69-PP-4 In 2011 a pirate selling on
www.amazon.com bootlegged this poster. The stock
used was slick and glossy. A white border not on
the original was added. The
size is the distinguishing characteristic. 12” x
17 63/64”

Under BG-74 under acts add "Luke and the Apostles (listed on program
but not on poster or card)."

After BG-74-PP-3 add
BG-74-RP-4 In late 2006 the new owner of the Bill
Graham Presents Copyrights,Wolfgang’s Vault, reprinted four more of the
numbered Fillmore/Fillmore

West posters. Each
was printed in two different sizes on two different stocks.

All bear the
credit “Wolfgang’s Vault” in the lower right corner. This item is

In the 1990’s another pirate postcard was produced. This
time the image was cropped so that the Bill Graham
Presents credit at the top was removed. The reverse bears
the notations "U620-JEFFERSON AIRPLANE & GRATEFUL
DEAD," "UNDERGROUND" and "Printed in England." 4
9/64" x 5 29/32"

Under BG-75 change BG-75-OP-1 to read

BG-75-OP-1 The original poster was printed on uncoated
index. The printer’s credit "Neal, Stratford & Kerr" appears
to the right of "75." 14 5/16" x 21 11/32"

Under BG-75 change BG-75-RP-2 to read

BG-75-RP-2 This reprint poster was printed on coated
stock of the kind used for most Bill Graham originals beginning
with number 150. The printer’s credit mentioned under BG-75-OP-1
is deleted. 13 61/64" x 21 5/32"

Under BG-75 add

BG-75-RP-3 An additional reprint exists which predates
BG-75-RP-2. This item was printed on stock similar to the
original, that used for Bill Graham originals from number 54 to
number 149. The printer’s credit mentioned under BG-75-OP-1 is
deleted.
14" x 21 19/64"

After BG-75-RP-3 add:
BG-75-RP-4 In 2006 the new owner of the
Bill Graham Presents copyrights, Wolfgang’s
Vault, reprinted six of the numbered
Fillmore/Fillmore West posters. Each was
printed in two different sizes on two different
stocks. All bear the credit
“Wolfgang’s Vault” in the lower right corner.
This item is the smaller version on uncoated index. 14 15/64 x 21
45/64”
BG-75-RP-5 This item is the larger version
on glossy, coated stock. 21 25/64” x 32 31/32”

After BG-75-RP-5 add:
BG-75-PP-6 In 2011 a pirate
selling through www.amazon.com bootlegged this poster.
Since this version lacks the “Neal, Stratford and
Kerr” credit of BG-75-OP-1,
it must have been taken from a reprint. The
colors seem to indicate the version
used was BG-75-RP-2. This pirate is on slick,
glossy stock and has a white
border not present on genuine copies. An
unscrupulous person could cut off
this border so it can not be used as a
distinguishing characteristic. Since its size
is quite different from genuine copies, that can
be used to distinguish it.
12” x 18 1/64”

After BG-75&76-OPC-C add
BG-75-RPC-D In 2009 the Denver Art Museum used a
postcard sized version of this image to promote a show of its new
collection of psychedelic art. The edges were perforated. There is
information about their 2009 show
on the back. The signature of the artist, Bonnie MacLean, appears
above “Tickets.” 3 1/2” x 5 1/2”

Under BG-76 change the text to read:

"BG-76-OP-1

It had previously been thought that this poster had been
printed twice, once before the concert and once after, but
it now appears that the two versions are variants of one
printing and both are originals. This variant does not
have a brown border strip across the top and one third
down way down each side. This lack of brown border strip
matches the postcard.

"*BG-76-OP-2

This variant has a brown strip across the top and one
third way down each side."

At the bottom of the page add:

"*This change of status from reprint to original came as a result
of lengthy conversatons with Jacaeber Kastor and Dennis King as
well as the artist Bonnie MacLean. The most significant piece of
evidence is that although printing "zits" vary (some copies have
ones similar to others, but not all are identical), two copies
exist with nearly identical "zits" one with the border and one
without. Also worthy of consideration is that all colors are
identical from one variant to the other."

After BG-79-OP-1 add
BG-79-RP-2 In 2013 the current copyright holder,
Wolfgang's Vault, reprinted this poster with a Wolfgang's Vault
credit in the lower right corner. 24" x 36"

Under BG-80 acts add "*Prime Movers."

"* A member of the Prime Movers told me that his band
substituted for Electric Flag."

Under BG-81 change posters to read:BG-81-OP-1
In 2007 I examined copies of this poster that had been in the
archive assembled by Jacaeber Kastor formerly of Psychedelic
Solution. Based on his access to printing records of
Tea Lautrec Litho which were unknown to me, he listed two
printings of this in his catalog. In his catalog he only listed
them as different shades of green, but in his personal notes
he stated that the original was printed on
stock which when viewed obliquely on the reverse had a distinct
woven or “rows” pattern. Neither of the two markings
described under
BG-81-RP-2 appear on copies of BG-81-OP-1 14 7/32” x 21
19/64”
BG-81-RP-2 The reprint is on stock the
reverse of which has no “rows” or woven pattern. An easier way
to distinguish BG-81-OP-1 from BG-81-RP-2 than the presence or
absence of
rows or woven texture stock on the back is to look for either or
both of the following two markings which appear only on copies
of BG-81-RP-2. First find the 1/4” wide
horizontal, medium green bar which separates “BOWL” from “SEPT
15 FRI.” Look 9/16” left of the left edge of this bar in the
light blue area. In this exact spot on the reprint
there will be an irregularly shaped
white spot about 1/16” x 1/32.” Second look in the extreme lower
right corner of the poster. On the reprint there will be a
vertical area about
1/16” wide running up the right edge of the poster which is made
up of fine dot screen. This area diminishes in width as it goes
up toward the top along the right edge and
disappears before it reaches the top. Since it is possible
someone could trim off this area of dot screen and/or attempt to
fill in the white spot with a colored marker or pencil, in
order to make a reprint appear to be
an original, if it is possible, one should use the
presence or absence of the rows or woven pattern on the back of
the stock as a
final check. 13 7/8” x 20 19/32”

Under BG-82-OP-1 add:
In 2008 it was discovered that there was some variation in color on
a small number of copies of this poster. The green was lighter and
the orange more nearly brown on these variants. These were not part
of a separate printing.

Under Bg-83-OP-1 add:
As with BG-82-OP-1 there are a small number of copies with slightly
different colors'

Under BG-86 change posters to read:

BG-86-OP-1AThe original is on uncoated index similar to most Bill
Graham originals from number 54 to number 149.In 2002 Jacaeber Kastor noticed that there were two
variations, and in 2006 I noticed a third, two of which are originals. One is a reprint. Apparently
during the original press
run the printer noticed
two small flaws in the plate after some posters had been printed, stopped the presses
and corrected them. The first version has the two small flaws. These flaws
are a small yellow dot between the upper arms of the “E” in
“ONE” and a small yellow area along the top edge of the bottom
curve of the “S” in “SEPT.”

14 1/32”
x 21 7/64”

BG-86-OP-1BIn 2007 I
discovered that this poster had been printed three times, not
twice as

previously had been thought. The poster
formerly identified as BG-86-OP-1B

was found to be a
reprint. Accordingly this designation is being eliminated from
this Guide. See reasoning under notes.

BG-86-OP-1COn this version the yellow dot between the upper legs of
the “E” in “ONE” has been “corrected” with small brown dots
which mimic the dot screen of the background. The yellow area
along the top edge of the “S” in SEPT.” has been scratched on the plate so this
flaw also is no longer
present.14 3/64” x 21 1/8”

BG-86-RP-1.5In 2007 the poster formerly identified as BG-86-OP-1B was
discovered to be a reprint. It is an earlier reprint than
BG-86-RP-2. This reprint is on index. It can

be
distinguished from BG-86-OP-1A and BG-86-OP-1C because the
yellow

area along the top edge of the “S” in “SEPT”
has been corrected, but the small

yellow dot between
the upper arms of the “E” in “ONE” has not been corrected. That
area is still yellow on this version. 14 1/64 ‘ x 21 35/64”

BG-86-RP-2The third printing, a reprint, is on the glossy,
coated stock used for most Bill Graham originals beginning with
number 150.It is interesting that
this reprint follows the earliest version
of the poster, BG-86-OP-1A. 14 1/64” x 21 9/32”

Under BG-86-PC-A change "blank" to "place stamp here."

Under BG-86 notes add:

In 2007
I first got access to printing records of Bill Graham Presents
for posters printed by Tea Lautrec Litho. These records
indicated that BG-86 had been printed three times instead of two
as previously had been thought. The records indicated that one
of the reprints was done in August of 1968, well before the
shift to glossy stock, so one reprint had to be on index stock.
The first thought that this reprint was one of the already known
three variants on index proved true.

I
studied all three index versions to see if there was some way
that one of them could be separated from the other two. First I
noted that two of them were virtually identical in size, only
1/64” different from each other while the third was
substantially different in length. While it is not impossible
for random chance to have the printer set the cutter identically
on two separate occasions, this is not likely so I began to see
if there were other links between the two similarly

sized
versions, BG-86-OP-1A and BG-86-OP-1C. I found that there is a
small white dot in the top center of the “O” in “COW” on each of
these but not in the same location on the newly designated
BG-86-RP-1.5. This white dot on both OP-1A and OP-1C only would
have been possible if they were printed at the same time. I was
able to examine the original film which was used to produce the
printing plates for all the printings. This film would produce a
plate that printeda poster fitting
the characteristics of BG-86-OP-1A. This leads to the idea that
this is the original state of the poster. If this is the
original state of the poster, then BG-86-OP-1C which was printed
at the same time as BG-86-OP-1A also precedes the concert. This
leaves only BG-86-RP-1.5 to be the August reprint on index.
Postcards also have the flaws in the “E” in “ONE” and the “S” in
“SEPT.” I was not able to link any of the paper stocks to any of
the others using blacklight on the backs.

Under BG-87 change cards to read:

BG-87-PC-A All small size are on the same stock as BG-87-OP-1.
This postcard has a place stamp here reverse. On this variant the
face and the body of the Mercury figure are the same color. 4
35/64" x 6 29/32"

BG-87 & 88-PC-B This double postcard has a blank reverse on
the BG-87 side and a bulk mail permit on the reverse of the
BG-88 side. The face of the Mercury figure is the same color as
the body. 4 35/64" x 13 63/64"

BG-87 & 88-PC-C Some copies of BG-87 & 88-PC-B were
mechanically addressed and sent to people on the mailing list.

BG-87-PC-D This postcard has a place stamp here reverse. The
face of the Mercury figure is even throughout and lighter in
color than the body.

BG-87-PC-E This postcard has a place stamp here reverse. The
upper portion of the face of the Mercury figure matches the
body, but the lower portion of the face is lighter than the
body.

BG-87 & 88-OPC-F This double postcard has a blank reverse
on the BG-87 side and a bulk mail permit on the BG-88 side. The
face of the Mercury figure on the BG-87 side is even throughout
and lighter in color than the body.

BG-87 & 88-PC-G Some copies of BG-87 & 88-PC-F were
mechanically addresses and sent to people on the mailing list.

BG-87 & 88 PC-H This double postcard has a blank reverse on
the BG-87 side and a bulk mail permit on the BG-88 side. The
upper portion of the face of the Mercury figure on the BG-87
side matches the body, but the lower portion of the face is
lighter than the body.

BG-87 & 88-PC-I Some copies of BG-87 & 88-PC-H were
mechanically addresses and sent to people on the mailing list.

Under BG-89 after BG-89-OP-1 add:
BG-89-OP-2 In 2006 several copies of
an original variant of this image were discovered.
These are characterized by skin and lettering
which are olive green in color.
On this version the woman’s eye is the same
green color as her face. 14” x 21”
BG-89-OP-3 This version is similar
to BG-89-OP-2 except the woman’s eye is not olive green but pink.
14” x 21”

After BG-90-OP-1 addBG-90-PP-2In 2006 a pirate printer offered a bootleg of this image
on ebay. It is distinguished by the absence of a ticket outlets
strip. 18 29/32” x 24 1/64”

After
BG-90-PP-2 add
BG-90-RP-3 In 2010 the current
copyright holder of these Bill Graham Presents posters,
Wolfgang’s Vault, issued a large size reprint of this image on
glossy, coated stock.
The
notation “Wolfgang’s Vault” appears in white in the lower
right corner. 24 61/64” x 37 1/32”

Under BG-92-OP-1 Change the length to 21 3/64"
After BG-92-OP-1 add
BG-92-RP-2 In 2013 the current copyright holder,
Wolfgang's Vault, reprinted this poster with a Wolfgang's Vault
credit in the lower right corner. 24 13/ 64" x 36"

Under BG-98 Artist add "Stanley Mouse."

After the main heading designations "BG-97" and "BG-98" place
asterisks. At the bottom of the page add the following:

"*The most significant mistake in the 1996 edition of this Guide
was the listing of the variations of these posters as originals
and reprints. Further research indicates the printing plate was
altered during the press run producing variations all of which
were originals."

The designation "BG-97-RP-2 should be changed to "BG-97-OP-2."

After BG-97-OP-2 add
BG-97-OP-3 In 2013 a new variant was discovered. This
variant does not have any of the credits listed for BG-97-OP-1 or
BG-97-OP-2. This variant was printed at the end of the press run,
not
the
beginning. The following not should be added to B.G. 97 Notes:
In 2013 a new variant of BG-97 and a new variant of BG-98 were
discovered. These are not reprints.
They are part of the original press run. They just were done in very
small quantities so that they were not widely noticed before now.
They were printed on the correct original paper stocks, printed with
the correct original inks, and printed with the correct original
printing plates.

The distinguishing characteristic of these two newly discovered
variants is that they are missing credit "c B. GRAH(A)M 67" with or
without the second "A," missing the "#97" on the BG-97, and missing
the "KELLY" on the BG-98.

At first it appeared that these must have come from the beginning of
the press run before the extra credits were scratched into the
plate, but careful examination indicates that these were the result
of the credits being removed, not the result of the plate being run
without the credits added.

On the BG-97 which is now designated BG-97-OP-3 a very close
examination of the area where the credit should appear reveals the
remnants of the "C" in the circle immediately above the "L" in
"LIGHTS" and the bottom portion of the "6" in "67" just above the
"B" in "BY."The area where the "#97" appeared also shows signs of
alteration. There also is a printing zit (A small spot on the poster
where there was a speck of dirt on the printing plate which made a
characteristic mark on the paper.) on the copy I saw of
BG-97-OP-3 which exactly matches a printing zit on a copy of
BG-97-OP-2 indicating that they were printed relatively close in
time during the printing sequence because printers often stopped the
presses to clean these specks off the plates. I also saw another
copy of BG-97-OP-2 which did not have this printing zit, so clearly
this speck was not on the plate throughout this part of the press
run.

On the BG-98 which is now designated BG-98-OP-4 there are no
remnants of the credits, but the trimming matches copies of
BG-98-OP-3 which are trimmed differently than copies of BG-98-OP-1
and BG-98-OP-2 which are trimmed identically. This would not be the
case if this new variant had come at the beginning of the press run,
not the end. Also it would be logical that if the presses were
stopped to remove the credits from BG-97 near the end of the press
run, that the credits on BG-98 would have been removed at the same
time.

The text of BG-98 should be discarded and replaced with:

"98" appears on the poster only in the smallest orange bar at the
lower right corner of the image.

BG-98-OP-1

"Copyright B. GRAHM (sic) 67" appears in the lower right
corner. "KELLY" (sic) does not appear.

BG-98-OP-2

"Copyright B. GRAHAM 67" appears in the lower right
corner. An "A" has been scratched into the plate between
the "H" and "M." "Kelly" does not appear.

BG-98-OP-3

"Copyright B. GRAHAM 67" appears in the lower right.
"KELLY" (sic) has been scratched into the plate in the
lower right corner of the inner image above the "s" in
"Collectors."

BG-98-PC-A

This postcard has a place stamp here reverse. It is 3
11/16" wide (see also BG-97 for double).

BG-98-PC-B

This card is identical to BG-98-PC-B except the reverse
is blank. It is distinguishable from the BG-98 half of the
BG97&98 double which is 4 1/8" wide.

After BG-98-OP-3 add:
BG-98-OP-4 In 2013 a new variant of this image was discovered.
It does not have any of the credits listed under BG-98-OP-1, 2, or
3. It was printed at the end of the press run, not the beginning.
The following explanation also appears under Notes B.G. 97
In 2013 a new variant of BG-97 and a new variant of BG-98 were
discovered. These are not reprints.
They are part of the original press run. They just were done in very
small quantities so that they were not widely noticed before now.
They were printed on the correct original paper stocks, printed with
the correct original inks, and printed with the correct original
printing plates.

The distinguishing characteristic of these two newly discovered
variants is that they are missing credit "c B. GRAH(A)M 67" with or
without the second "A," missing the "#97" on the BG-97, and missing
the "KELLY" on the BG-98.

At first it appeared that these must have come from the beginning of
the press run before the extra credits were scratched into the
plate, but careful examination indicates that these were the result
of the credits being removed, not the result of the plate being run
without the credits added.

On the BG-97 which is now designated BG-97-OP-3 a very close
examination of the area where the credit should appear reveals the
remnants of the "C" in the circle immediately above the "L" in
"LIGHTS" and the bottom portion of the "6" in "67" just above the
"B" in "BY."The area where the "#97" appeared also shows signs of
alteration. There also is a printing zit (A small spot on the poster
where there was a speck of dirt on the printing plate which made a
characteristic mark on the paper.) on the copy I saw of
BG-97-OP-3 which exactly matches a printing zit on a copy of
BG-97-OP-2 indicating that they were printed relatively close in
time during the printing sequence because printers often stopped the
presses to clean these specks off the plates. I also saw another
copy of BG-97-OP-2 which did not have this printing zit, so clearly
this speck was not on the plate throughout this part of the press
run.

On the BG-98 which is now designated BG-98-OP-4 there are no
remnants of the credits, but the trimming matches copies of
BG-98-OP-3 which are trimmed differently than copies of BG-98-OP-1
and BG-98-OP-2 which are trimmed identically. This would not be the
case if this new variant had come at the beginning of the press run,
not the end. Also it would be logical that if the presses were
stopped to remove the credits from BG-97 near the end of the press
run, that the credits on BG-98 would have been removed at the same
time.

Under BG-97-PC-A add "This card is 4 3/8" wide."

Under BG-97&98-PC-B add "This card is 4 18" wide."

Under BG-97 the final (second) designation "BG-97&98-PC-B"
should read "BG-97&98-PC-C."
Change the second BG-97&98-PC-B to BG-97&98-PC-C.

After BG-99-RP-2 add
BG-99-RP-3 In 2010
the current copyright holder of these Bill Graham Presents posters,
Wolfgang’s Vault, issued a large size reprint of this image on
glossy, coated stock.
The
notation “Wolfgang’s Vault” appears in white in the lower
right corner. 24 37/64” x 37 1/32”

After BG-99-RP-3 add:
BG-99-PP-4 In 2011 a pirate
selling on www.amazon.com bootlegged this poster. The blue
background is mottled. The stock is slick, glossy, and there is a
white border not on the original.
The size is the distinguishing characteristic. 12” x 18 1/64”

Under BG-99&100-PC-D change "end to end" to "side to side."

After BG-99&100-OPC-D add:
BG-99-RPC-EIn 2006 the
new owner of the Bill Graham copyrights, Wolfgangsvault, used

this image on a large postcard which was sent
to people on their
mailing list

as a seasonal holiday card and as card
advertising a discount on merchandise.

5 1/4” x 9 7/32”

Under
BG-100 change posters to read:
BG-100-OP-1 In 2007 Phil Cushway, the owner of
Artrock, posted on expressobeans.com printing dockets and
printing samples which prove that this poster was printed twice.
The
original printing does not have
the green dot described under BG-100-RP-2. 14” x 21 1/32”
BG-100-RP-2 The reprint discovered in 2007 is
distinguished by a small green dot which is located in the lower
portion of the “v” in “Quicksilver.”
BG-100-RP-3 In 2010 the current copyright
holder of these Bill Graham posters, Wolfgang’s Vault, issued a
large size reprint of this image on glossy, coated stock.. This
reprint bears the
notation “Wolfgang’s Vault” in white in the lower left corner.
24 43/64” x 37 1/64”

After BG-100-RP-3 add:
BG-100-PP-4 In 2011 a pirate selling on
www.amazon.com bootlegged this poster. The stock
used was slick and glossy. A white border not
on the original was added. The
size is the distinguishing characteristic.
12” x 18 1/64”

Under BG-101 Change acts to read:

"Vanilla Fudge, Steve Miller Band, Sonny Terry & Brownie
McGhee"

After BG-101-RP-2 add:
BG-101-PP-3 In 2011 a pirate selling on
www.amazon.com bootlegged this poster. The stock used was slick and
glossy. A white border not on the original was added. The copy from
which the
bootleg was made had staple pairs in each corner, and these “staple
pairs” appear on the bootleg. The size is the distinguishing
characteristic. 12” 18 1/32”

Under BG-102-RP-2 add: "The ticket outlets strip was deleted from
this printing."

Under BG-103 change posters to read:
BG-103-OP-1 In 2007 Phil Cushway of Artrock posted on
expressobeans.com a printing docket and printing sample from Tea
Lautrec Litho which proved this poster was printed twice. The
original does not have the white dot described under the reprint.
The reprint docket was dated December 1968. 14 3/16" x 21 1/16"
BG-103-RP-2 The reprint of this poster has a 1/16" white
circle located 2 3/4" in from the right edge level with the "t" in
"Litho." This circle is much more readily seen as a gray circle
under black light. For my response to Mr. Cushway see the notes
below which will explain the process by which this distinction was
reached.
13 57/64" x 20 63/64"
Under BG-103 notes add:hi phil et. al.,
many of you were concerned when phil posted clear and
incontrovertible evidence that bg-103 had been reprinted but did
not include with his post any reliable means of telling the
reprint from the original. it was apparent from the scans with the
post that the reprint was a darker green than the original, but as
jim northrup has pointed out, posters fade over time, inks get
lighter and darker during press runs, and human eyes see color
differently. in order to be able to answer the challenge given us
by jacaeber kastor, that we find some mark or characteristic which
will enable a person with only one item to figure out what he has,
we have to use some other description than ,"the original is
lighter than the reprint."
this afternoon (10/24/07) i spent several hours with grant of
wolfgangsvault (thanks for your help, grant and bill.) going
through the vault inventory of, among other things, bg-103. we
found there were two distinctly different groups of bg-103 in
their inventory. one was the lighter green, the other the darker.
there were no gradual transition copies between them. we then
looked for a mark on one which was not on the other, and we found
one. on the reprint if you go to the letter "t" in "litho" along
the right edge and measure 2 3/4" perpendicular to the edge at
that point, you will find a 1/16" faint white circle which looks
like a transitory printing hickey, but this white circle appears
on all copies of the darker green group, and it appears on none of
the ones in the lighter green group. we know that the lighter
green is the original because phil stated in his first post in
this string that the folded, darker copy came from the envelope
which said it was the reprint.
since this small white circle is very hard to make out in most
light, i tried shining a black light on it, and i found that in
that way it was much more sharply defined as a gray circle. for
this reason i suggest that collectors wanting to distinguish these
two printings shine black light on this area. the circle, if it is
there, will be very distinct.
for those of you who are trying to maintain a complete set of all
printings, wolfgangsvault has copies of this reprint available for
sale (i bought one.), and if you ask grant for this specific
version, he will pull the reprint for you.
therose7

Under BG-104 change posters to read:

BG-104-OP-1In 2007 I saw
printing records belonging to Phil Cushway, owner of Artrock which documented that this poster had
been printed twice. The original does not have the mark
described under the reprint. 14 15/64” x 21 3/64”

BG-104-RP-2The reprint has a vertical faint pink bar on the back of
the poster. This bar is 1/4” wide and extends from the top of
the back of the poster down about 12.” It is just to the right
of the middle of the poster.

14 3/16” x 21 1/64”

The
reason
that
I
am
confident
that
the
reprint
and
the
original
can
be
separated
as
described
above
is
that
I
separated
over
a
hundred
copies
of
this
poster
using
a
black
light
shined
on
the
backs.
One
group
was one stock which had a mild glow or floresence under black
light. The other was on stock which did not. None of the cards
glowed or floresced under black light. I then looked for a mark

on either one group or the other which
could be used to distinguish them, and I discovered the faint pink
bar described above which appears only on the backs of the group
the floresced or glowed under black light.

Under BG-105 change the date from "88" to "68".

AfterBG-105-RP-5 add:
BG-105-RP-6 In 2006 the new owner of the
Bill Graham Presents copyrights, Wolfgang’s
Vault, reprinted six of the numbered
Fillmore/Fillmore West posters. Each was
printed in two different sizes on two different
stocks. All bear the credit
“Wolfgang’s Vault” in the lower right corner.
This item is the smaller version on uncoated index. 13 1/2” x 21
3/32”
BG-105-RP-7 This item is the larger version
on glossy, coated stock. 21” x 32 1/2”

After BG-105-RP-7 add:
BG-105-RP-8 In 2014 Wolfgang's Vault again reprinted
this poster on slick, glossy stock in a press run of 1000. A
"Wolfgang's Vault 2014" credit appears in the lower right corner.
21
1/64" x 32 33/64"

After BG-105-PC-E add

BG-105-RPC-F In 2001 Artrock used this image as the
basis of a postcard which was used to announce a memorial
exhibition on the tenth anniversary of Rick’s untimely death. 4
7/32" x 5 15/16"

Under BG-105 add:
BG-105-RPC-G In 2004 the new copyright holder who recently had
purchased all the Bill Graham Presents copyrights began reprinting
selected items. Among the first items printed at this time was a
postcard of this image. A Wolfgangs Vault logo appears on the
reverse.
4 1/4” x 6”

Under BG-106 change artist from "Lee Conklin" to "Stanley Mouse."

Under BG-108 add "Who" to acts.

After BG-108-RP-2 add:
BG-108-RP-3 In 2014 Wolfgang's Vault reprinted this poster
on slick, glossy stock in a press run of 500. A "Wolfgangs's
Vault" credit appears in the lower right corner. 20 13/32" x 29
27/32"

Under BG-108 after BG-108-PC-A add

BG-108-RPC-B In 2000 SFX, the new owners of Bill Graham
Presents reprinted this card using the reverse to advertise their
sale of concert memorabilia. 3 15/16" x 5 15/16"

Under BG-109 change the number location to read, "109 appears above
the 'e' in 'Loading Zone'"

After BG-109-RP-2 add
BG-109-RP-3 In 2006 the new owner of the Bill
Graham Presents copyrights, Wolfgang’s
Vault, reprinted six of the numbered
Fillmore/Fillmore West posters. Each was
printed in two different sizes on two different
stocks. All bear the credit
“Wolfgang’s Vault” in the lower right corner.
This item is the smaller version on uncoated index. 13 57/64” x 20
31/32”
BG-109-RP-4 This item is the larger version
on glossy, coated stock. 21 7/16” x 32 29/64”

Under BG-110-OP-1 add "It should be noted that color is not a
reliable distinguishing factor between printings of BG-110. Although
most originals are dark, nearly black and most reprints are medium
brown, there are medium brown originals."

After BG-123-OP-1 add:
BG-123-PP-2 In 2011 a pirate selling through
www.amazon.com bootlegged this poster. The
stock used was slick and glossy. A white border
not on the original was added.
The distinguishing characteristic is its smaller
size. 12” x 18”

Add to BG-124-PP-2:

"In 1997 it was learned that this edition was a properly licensed
reprint, not a pirate."

After BG-132-OP-1 add:
BG-132-PP-2 In 2011 a pirate selling through
www.amazon.com bootlegged this poster. The
stock used was slick and glossy. A white border
not on the original was added.
Size is the distinguishing characteristic.
12” x 17 63/64”

After BG-134-RP-2 add:
BG-134-PP-3
In
2110
a
pirate
printing
based
on
BG-134-RP-2
was
discovered
in
Europe.
It
has
the
“W”
marking
but
is
not
on
glossy
stock
and
was
not
printed
with
the
BG-134-RP-2 printing plate. The best way to distinguish this pirate
is that it is on uncoated index, not glossy, coated stock the way
the legitimate reprint is. It
can be distinguished from the
original by the presence of the “W.” 13 61/64” x 21 1/16”

After BG-134-PP-3 add:
BG-134-PP-4 In 2011 a pirate selling on
www.amazon.com bootlegged this poster. The stock
used was slick and glossy. A white border not on
the original was added. The size is the distinguishing
characteristic. 12” x 18”

After BG-135-OP-1 add:
BG-135-PP-2 In 2011 a pirate selling on
www.amazon.com bootlegged this poster. The stock
used was slick and glossy. A white border not on
the original was added. The
size is the distinguishing characteristic. 12
1/64” x 18 1/64”

After BG-136-OP-1 add:
BG-136-PP-2In 2006
a pirate printer offered a bootleg of this image on a now
discontinued

website. The image area was much larger than
the original.
18 29/32” x 24”
After BG-136-PP-2 add:
BG-136-RP-3 In 2008 the new owner of the Bill
Graham Presents copyrights, Wolfgang's
Vault, reprinted four numbered Fillmore
posters. All bear the credit
"Wolfgang's Vault" in the lower right corner. 20 27/64" x 32 9/32"

After BG-136-RP-3 add:
BG-136-PP-4 In 2011 a pirate selling on
www.amazon.com bootlegged this poster. The stock
used was slick and glossy. There is a white
border not on the original. The
distinguishing characteristic is size which is
much smaller than the genuine
copies. 12” x 18”

Under
BG-137 comments change "Rire" to "Rit."

Under BG-138 change BG-138-PC-A to read "This postcard has a
place stamp here back."

Under BG-139 change number location to read "’138’ appears
incorrectly above and right of ‘Hayward’ in the ticket outlets
strip on the postcard. The previous image is the correct BG-138.
This image is BG-139.

The correct number appears in this location on the poster.

Add to BG-140-PP-3:

"In 1997 it was learned that this edition was a properly licensed
reprint, not a pirate."

Under BG-140-RP-3 (Since this is a properly licensed reprint, the
designation is changed from PP-3 to RP-3) delete "Dimensions are 11
7/8" x 17 1/2"." Correct dimensions are
11 7/8" x 16 35/64"

Between BG-140-PP-3 and BG-140-PC-A add:

"BG-140-PP-4

In 1997 a pirate measuring 15 9/16" X 23 3/8" was
discovered on thin, uncoated stock. It was German in
origin and may date substantially earlier. "Printed in
West Germany" appears in the lower right corner. "833
004-1" appears in the upper right corner." In 2001 it was
discovered that this poster accompanied a German Import
Rykodisc release entitled "Jimi Hendrix Experience – Live
at Winterland." It is reasonable to assume this was not a
pirate poster but an authorized reprint."

After BG-140-PP-4 add:
BG-140-RP-5 In 1986 RYKO produced an American
version of “Live at Winterland,” and this image was on a small
poster which came with the CD and had the liner notes on the
reverse. It was shot off a reprint because the script “W” appears
after the ticket outlets strip at lower right. Thanks to George
Sargent for pointing this out to me. 9 29/64 x 14 1/8”

Under BG-140 add:
BG-140-PP-6 In 2004 several earlier pirates were
pointed out to me. This and one of BG-140
appear to have been done by the same printer. The
are both on the same thick
(.0110”) coarse and porous stock. The inking was
done poorly, and the ink tends to rub off the paper. From the look
and condition of the paper it appears
that this pirate was done at least ten and
probably more years ago, (before 1994). Colors are very dull
compared to the bright colors of the originals.
17 29/32” x 11 61/64”

After BG-140-PP-6 add
BG-140-RP-7 In 2010 the current copyright holder
of these Bill Graham posters, Wolfgang’s Vault, issued a large size
reprint of this image on glossy, coated stock. The notation
“Wolfgang’s
Vault” appears in white in the lower
right corner. 24 13/64” x 37”

Under BG-140A delete, "but since it does not… informational purposes
only."

After BG-142-OP-1 add:
BG-142-PP-2 In 2011 a pirate selling on
www.amazon.com bootlegged this poster. The stock
used was slick and glossy. A white border not
on the original was added. The
size is the distinguishing characteristic. 12”
x 17 63/64”

After BG-143 add:
BG-144A
11/6-8/68
Winterland
Unknown
Led Zeppelin
Bonzo Dog Band
Roland Kirk
BG-144A-PP-1 In 2008 a pirate printer
apparently in Indiana created a poster similar to the old boxing
style posters for a fantasy concert which did not occur at the
time and place
listed. It was printed on cardboard as were the old boxing style
posters. This poster is an infringement on the rights of both the
late Bill Graham as well as the acts
listed. It was sold on ebay among other places. 14 1/32" x
21 63/64"
B.G. 144A This poster was printed by split fountain
technique and is pink at the top, yellow in the middle and green
at the bottom. The central image is a photograph of Led Zeppelin.
The lettering is block lettering.

Under BG-147 artist add "Victor Moscoso**."

After "*" add:

"**After publication of the first edition of this Guide, Victor
Moscoso told me he did the lettering in the speech bubble.

Under BG-149 change the dates to 12/12-15/68

After BG-152-OP-1 add"
BG-152-RP-2 In 2008 the
new owner of the Bill Graham Presents copyrights,
Wolfgang's Vault, reprinted four numbered
Fillmore posters. All bear the credit
"Wolfgang's Vault" in the lower right corner. 20 13/32" x 30
63/64"

Under BG-155-OP-1 change length from 21 7/32" to 21 17/32"
After BG-155-OP-1 add:
BG-155-RP-2 In 2010 the current copyright holder
of these Bill Graham posters, Wolfgang’s Vault, issued a large
size reprint of this image on glossy, coated stock.. The notation
“Wolfgang’s
Vault” appears in white in the lower right corner. 23 59/64” x 37
1/64”

In 2001 Phil Cushway of Artrock listed a copy of
this second printing on ebay describing it as a first (Item
#1491643893). I questioned Mr. Cushway about this, and he said
this was an accident. He said he had spoken with the artist, Randy
Tuten, and he said Randy Tuten had told him specifically that the
yellow bordered BG-165 is a reprint, and he, Mr. Cushway, does not
dispute this.

Under BG-169 change the location to "Winterland."
After BG-169-RP-2 add

BG-169-RP-3In late 2006 the new owner of the Bill Graham Presents
copyrights,

Wolfgang’s Vault,
reprinted four of the numbered Fillmore/Fillmore West

posters. Each was printed on two different
stocks. All bear the credit “Wolfgang’s Vault” in the lower
right corner. This item is the smaller version
on uncoated index. 14 25/32" x 22 13/32"

BG-169-RP-4 This item is the larger
version on glossy, coated stock. 21 1/2" x 32 33/64"

Under BG-170 add
BG-170-RP-3 In 2006 the new owner of the Bill
Graham Presents copyrights, Wolfgang’s
Vault, reprinted six of the numbered
Fillmore/Fillmore West posters. Each was
printed in two different sizes on two different
stocks. All bear the credit
“Wolfgang’s Vault” in the lower right corner.
This item is the smaller version on uncoated index. 14 1/64” x 21
1/32”
BG-170-RP-4 This item is the larger version
on glossy, coated stock. 21 33/64” x 32 1/2”

at the end of BG-170 add:
* In 2006 a seller on ebay began marketing a boxing style poster for
this event. No such poster existed at the time of these concerts. It
was printed in split fountain process, reddish pink at the top,
yellow in the middle and bluish green at the bottom. A photo of Led
Zepplin appears at the top center. April 24, 1969 is the only date
listed. This sold for under $10.00 and was not represented as an
original item, but it is only a matter of time until someone either
unknowingly or deliberately offers to sell one of these as an
original dating from the time of the concert.

Caveat
Emptor and all that stuff. Look out for this one.

Under BG-173 change posters to read:
BG-173-OP-1 This poster was printed lawfully only once.
BG-173-PP-2 In 2008 a pirate/bootleg of this poster was
printed, probably in Australia, and sold on ebay. This poster was
printed digitally on semi-gloss stock unlike the lawful original
which was
printed on glossy, coated stock as were almost all Bill Graham
Presents lawful original posters from BG-150 to BG-286. This bootleg
can be distinguished by
the fact that
the white areas are not pure white but are filled with small,
colored dots. 20 47/64" x 13 47/64"

Under BG-175 change "BG-175-PC-B" to "BG-175-PC-A."

Under BG-176 change BG-176 & 177-PC-B to read
This double postcard has a calendar of
other Bill Graham events on the
reverse of the BG-177 side and a bulk rate permit
on the reverse of the
BG-176 side. 7” x 9 15/64”

Under BG-177 change "BG-177-PC-B" to BG-177-PC-A."

Under BG-179 change "BG-179-PB-B" to "BG-179-PC-A."

Change BG-180-OP-1 and BG-180-RP-2 to read

"BG-180-OP-1 The original poster printed before the
concert has a faint, vertical, straight blue line 3/4" long in the
right margin beginning 2" down from the top of the
poster. 14 1/32" x 22 1/32"

BG-180-RP-2 On the reprint the faint blue line described under
the original has been removed. 14" x 22"

Under BG-185 change "BG-185-PC-B" to "BG-185-PC.A."

After BG-186-RP-2 add
BG-186-RP-3 In 2006 the new owner of the Bill
Graham Presents copyrights, Wolfgang’s
Vault, reprinted six of the numbered
Fillmore/Fillmore West posters. Each was
printed in two different sizes on two different
stocks. All bear the credit
“Wolfgang’s Vault” in the lower right corner.
This item is the smaller version on uncoated index. 13 7/8” x 21
45/64”
BG-186-RP-4 This item is the larger version
on glossy, coated stock. 21 1/64” x 32 1/2”

After BG-186-RP-4 add:
BG-186-PP-5 In 2011 a pirate selling on
www.amazon.com bootlegged this poster. It is on
slick, glossy stock and has a white border not on
the original or either lawful
reprint. The distinguishing characteristic is
size which is smaller than lawful
copies. 11 31/32” x 18 1/64”

After BG-186-PC-C add:
* Sometime in the 1990’s a mid-west (Indiana?) pirate created
a poster for this event. The
image bears no resemblance to the image created by Randy
Tuten. It is a photograph of the
Doors on a red background with gold lettering. “TRIBUNE SHOWPRINT,
INC., EARL
PARK, IN” appears in the lower margin at left.

Change posters under BG-193 to read:
BG-193-OP-1 This poster was printed only once, but
there are two variants. The more common variant has a red ticker
outlets strip. It should be noted that the
background color of this poster
varies substantially. 12 55/64” x 21 11/64”
BG-193-OP-2 In 2006 it was noted that a
small but not inconsequential number of this image
have a brown ticket outlets strip.
12 53/64” x 21 11/64”

Change BG-193-PC-A and BG-193&194-PC-B to read
BG-193-PC-A This postcard size item has a calendar
of other Bill Graham events on the reverse. All known copies of
BG-193-PC-A had the ticket outlets strip cut off by the printer due
to a stripping error which caused the ticket outlets strip on the
five upper cards on the proofsheet to overlap the top of the cards
below. Although the lower three cards on the proofsheet could have
been cut to include the ticket outlets strip, apparently a decision
was made to cut them all off.
4 19/64” x 6 29/32”
BG-193 & This double postcard has a bulk rate
permit on the reverse of the BG-193
194-PC-B side and a calendar of
other Bill Graham events on the reverse of the BG-194 side. All
known copies of BG-193&194-PC-B had both ticket outlets strips
cut off due to the same sort of stripping error mentioned under
BG-193-PC-A
6 57/64” x 9 3/8”

After BG-194-RP-2 add:
BG-194-RP-3 In 2010 the current holder of the copyrights on
these Bill Graham posters, Wolfgang's Vault, issued a large size
reprint of this image on glossy, coated stock. The notation
"Wolfgang's Vault" appears in black in the lower right corner. 23
1/16" x 37 1/64"
Change BG-194-PC-A to read:
BG-194-PC-A This postcard size item has a calendar of other
Bill Graham events on the reverse (See BG-193 for double.). This
more common version of this card had the ticket outlets strip cut
off. 4 5/8" x 7 3/64"
After BG-194-PC-A add
BG-194-PC-B For unknown reasons some BG-194 cards were
dustrubuted with the ticket outlets strip attached. This version of
the BG-194 card included the ticket outlets strip. 4 5/8" x 7 1/32"

Under BG-196 add
BG-196-PC-B Some copies of this postcard sized
item are blank backed.

After BG-199-RP-2 add

BG-199-RP-3In late 2006 the new owner of the Bill Graham Presents
copyrights, Wolfgang’s Vault, reprinted
four of the numbered Fillmore/Fillmore West

posters. Each was printed in two different
sizes. All bear the credit “Wolfgang’s Vault” in the lower right
corner. This is the smaller version on glossy, coated stock. 14”
x 22 25/64”

BG-199-RP-4This item is the larger version also on glossy, coated
stock. 20 25/64” x 32 1/2”

Under BG-201 number change the location to read "Under the 'S' in
'Sunday'"

Change BG-201 posters to read
If there is one poster which has plagued me over the years, it is
BG-201. Those of us who study
these posters have known for a long time that there were two
authorized printings, one before
the show and one in 1974, but I have been unwilling to use some of
the more
popular distinguishing characteristics for specific reasons. I have
not wanted to use the fact that
the reprint is longer than the original because that might encourage
an unscrupulous person to
take reprints and cut them down to the length of the original. This
is a policy I have followed
throughout this guide. I have not used length or width as a deciding
factor if the reprint is larger
than the original. Also commonly used is a small black smudge in the
inner silver border lo-
cated between 7/16” and 1/2” right and above the “M” in “PM” in the
black strip at the bottom,
but smudges like that have a tendency to be on some posters and not
others in a run. Recently I have seen originals which did not have
this smudge. Lately I have been inclined toward using what Jacaeber
Kastor describes as stripping flaws along the right edge next to the
last “S” in “Stones,” but I was afraid that if this poster was
printed two up, that is two posters side by side on the same sheet,
that this might only appear on the poster on one side and not the
other. I note in passing that it has long been agreed that the
reprint of BG-201 was printed two up. Unfortunately Levon Mosgofian,
the printer of these posters and in the 1960s and 1970s the
owner of the dba Tea Lautrec Litho, is long deceased, and it was not
possible to ask him how this poster was printed.
To my delight and amazement in 2004 several pieces of good fortune
combined to answer all my concerns about this poster, and to my
satisfaction I can give my readers a reliable distinguishing
characteristic for the original and reprints of BG-201. First I was
able to examine the original artwork, and second I saw several
miscut originals. These were cut too far out along the left edge so
that whatever was next to them on the proofsheet became apparent. To
my surprise, it was not another poster. It was the edges of several
cards. This means that there is no side to side variant original the
way there is a side to side variant reprint.
It became apparent from the original artwork (the ink drawing by the
artist, Randy Tuten, with the actual photograph by Ron Raffaelli
attached) that there were not two black borders but three. One of
these touches the photograph so it is not readily visible, but the
fact that it is there can be determined by looking under the “S” in
“Presents” at the top where it is apparent in the light area at the
top of the photograph. It also can be seen at the bottom 2 1/4” in
from the left edge, but it is much more faint there because that
light area is much darker than the light area at the top. This inner
black border actually goes all the way around the photograph.
Because it became clear from the miscut originals that there was no
possibility of a variant original, it was obvious that Mr. Kastor
had been right all along about the flaw next to the “S“ in “STONES.”
This sloppiness was cleaned up on the reprints so this does not
appear on them. There is a finer and shorter similar series of white
flaws along the bottom of the photograph near the right edge. These
do not appear on the BG-202 poster, and they do not appear on the
cards.

BG-201-OP-1 Inside the third and innermost black border of the
original in the right margin next to the second “S” in “STONES” is a
vertical series of very narrow
white flaws extending from the upper right corner
down at least 4”. There is a much finer series of white flaws along
the bottom edge of the
photograph inside the third and innermost black
border beginning at the lower right corner of the photograph and
extending in at least 2”.
14” x 21 29/32”
BG-201-RP-2 Neither reprint has the white flaw described under
BG-201-OP-1. This poster has a 1/32” wide and 1/4” long horizontal
black indentation into the
bottom silver border (above
the second show information) at the very left edge, that is, the top
edge of the black bottom strip is not straight at the left
edge but
moves up 1/32” for a distance of about 1/4’. This should not be
mistaken for a very short 1/32” wide but less than 1/16” long rise
the
occurs in the same place on
some originals. If there is any confusion, it should be resolved by
reference to the white flaw described under
BG-201-RP-1. 14” x 22 1/32”
BG-201-RP-3 This reprint does not have the black indentation
described under BG-201-RP-2.The top edge of the black bottom strip
with the second show
information
is straight all the way across.
BG-201-PP-4 A pirate edition of this poster was printed in
1986. This item may be distinguished from the originals and the
legitimate reprints by at least two
factors. The pirate is on stock .0125" thick.
Both legitimate printings are on stock less than .0100" thick. On
both authorized editions three faint
white lines extend down 1 1/2" below "ll" in
"Rolling." These do not appear on the pirate. 14 3/64" x 22 1/16"

After BG-201-PP-4 add:
BG-201-RP-5 In 2014 Wolfgangs's Vault reprinted this poster on
slick, glossy stock in a press run of 500. A "Wolfgang's Vault"
credit was added in the lower right corner. 20 25/64" x 31 3/4"

Under BG-202 act change "Stone" to Stones."

Change BG-205 posters to read:

BG-205-OP-1

This poster was printed twice. The original has a c.
1/8" long horizontal black line midway between the top and
the bottom of the right margin. This is a remnant of
of a printer's bull's-eye not fully removed in trimming.

BG-205-RP-2

The reprint does not have the printer's bull's-eye
remnant described under BG-205-OP-1.

Change BG-210-OP-1 to read,

"On the original there is a c. 1/64" dot c. 5/32" above
the top of the edge of the brown image c. 5/16" left of the right
edge of the brown image. This is in the top
white margin
slightly left of the right edge of the image."

Change BG-210-RP-2 to read, "On the reprint the dot described under
BG-210-OP-1 has been
deleted"

Change BG-211-OP-1 and BG-211-RP-2 to read

BG-211-OP-1 The original poster has a small 1/32"
red dot in the top margin about 1/2" to the left of the top right
corner of the image. 14" x 22 3/64"

BG-211-RP-2 On the reprint the dot described under BG-211-OP-1
has been removed. 14" x 22 3/64"

Under BG-214 change the posters to read:
BG-214-OP-1 In 2005 two reliable distinctions were
found between the original and the
reprint of BG-214. The original has several small
blue spots in the outer white
top margin just to the right of the left outer
black border. It does not have the
small white nick in the “V” in “Steve” described
under BG-214-RP-2.
13 15/16” x 21 61/64”
BG-214-RP-2 The reprint does not have the blue
spots described under BG-214-OP-1. It has
a small white nick in the left side of the left
leg of the “V” in “Steve”
29/32” down from the top of the “V.” This white
nick varies in size from .01” to .003,” but it was on every one of
the large number of copies examined.
14” x 22 1/64”

Under BG-216 change the dimensions of BG-216-RP-2 to 13 63/64” x 22
1/32”

After BG-216-RP-2 add
BG-216-RP-3 In 2013 the current copyright holder, Wolfgang's Vault,
reprinted this poster with a Wolfgang's Vault credit in the lower
right corner. 22 9/16" x 36"

Under BG-216 change the dimensions of BG-216-PC-A to 4 39/64” x 7
5/32”

Under BG-217 change the date to read "2/12-15/70."

After BG-219-PC-A add:

"BG-219-PPC-B

In 1997 an English pirate printing of this card was
discovered. It is smaller than Fillmore West cards, and
much detail is lost due to sloppy printing. The following
notations appeared on the reverse: "U619-
DOORS-WINTERLAND, "UNDERGROUND" and "Printed in England."

After BG-222-OP-2 add:BG-222-RP-3 In 2010 the current holder of the
copyrights on these Bill Graham posters, Wolfgang's Vault, issued a
large size reprint of the BG-222-OP-2 image on glossy, coated stock.
The
notation "Wolfgang's Vault" appears in white in
the lower right corner. 24 21/64" x 37 1/32"Under BG-223 add:
BG-223-OPC-D BG-223-OPC-D By 2011 I had seen enough copies of this card with
the ticket outlets strip cut
off to realize that these had been
issued this way, probably as a result of a
cutting mistake at Tea Lautrec Litho,
to warrant a separate designation.
4 39/64” x 6 15/16”

The descriptions for BG-223 ande BG-224 were reversed. Please read
the description of BG-224 for BG-223 and vice versa.

Under BG-225 change acts from Family Fritz to Family and Fritz,
two separate acts and add:
*Earlier editions of this guide listed the act as “Family Fritz,”
one act. In 2005 it was pointed out to me that this was two acts;
Family, which was an act featuring bassplayer Rick Gretch
who went on to play with Blind Faith, and Fritz, which was an act
featuring Stevie Nicks and
Lindsey Buckingham.

After BG-227-RP-2 add:
BG-227-RP-3 In
2008 the new owner of the Bill Graham Presents
copyrights, Wolfgang's Vault, reprinted
four numbered Fillmore posters. All bear
the credit
"Wolfgang's Vault" in the lower right corner. 30 13/32"
x 30 19/32"
After BG-230-OP-1 add:
BG-230-RP-2 In 2014 Wolfgang's Vault reprinted this poster on
slick, glossy stock in a press run of 500. A"Wolfgang's Vault
credit appears in the lower right corner. 20 13/32" x 31 29/64"

After BG-230A-OP-1 add:
BG-230A-PP-2 In 2011 a pirate selling on www.amazon.com
bootlegged this poster. The stock
used was slick and glossy. A white border not
on the original was added. The
distinguishing characteristic is size. 11
63/64” x 18”

At the end of BG-232A-PC-A change the period to a comma and add:"but the card was printed on at least two
different paper stocks which took the blue ink differently. This
variant is on stock which is .0095" thick and slightly more
porous than BG-232A-PC-B. The blue tends to be lighter than the
blue of BG-232A-PC-B because of the porosity of the paper.

BG-232A-PC-B This variant was printed on
slightly smoother stock than BG-232A-PC-A. It is .0105" thick.
It is not on coated stock similar to that used for Bill Graham
Presents posters from number 150 to number 287. The blue tends
to be a bit darker than the blue of BG-232A-PC-A."

Under BG-244 change "7/23-36" to "7/23-26."

At the end of the text for BG-245-OP-2 add:

These blues do not necessarily match the range of
blues of the cards which are blue.

Under BG-246 notes add that the temple is the
Parthenon on the Acropolis of Athens, and the woman is Isadora
Duncan. The original photograph is by Edward Steichen. Change
"four" to "three."

Under BG-248, 249 and 251 change the number to read:

"247" appears incorrectly at the left above the ticket
outlets strip on the card but not the poster. Leave the correct
location the same on all three.

Under BG-270 Under date change "70" TO "7l" Both times.

Under BG-275-OP-1 add "lawfully" before "printed."
After BG-275-OP-1 add:
BG-275-PP-2 In 2009 Grant McKinnon of San Francisco Rock
Posters showed me a pirate printing of this image. It was not a
modern or recent pirate done digitally. It was done a long time ago
and printed by offset lithography. This means that there probably
are a substantial number of copies of this bootleg out there despite
the fact that no one has noticed it before now.
It is printed on thin, uncoated paper very different from the
glossy, coated stock used for most Bill Graham Presents posters in
this period. On the original the image is a rich blue color. On the
pirate it is mostly gray with only a hint of blue to it. 21 1/64" x
27 63/64"

After BG-279-OP-1 add:
BG-279-PP-2 In 2011 a pirate selling on www.amazon.com
bootlegged this poster. The stock used was slick and glossy. A white
border not on the original was added. The size is the
distinguishing characteristic. 12" x 18"

Under BG-287 add:
BG-287-PP-3 In 2004 several earlier pirates
were pointed out to me. This and one of BG-140
appear to have been done by the same printer. The
are both on the same thick
(.0110”) coarse and porous stock. The inking was
done poorly, and the ink tends to rub off the paper. From the look
and condition of the paper it appears
that this pirate was done at least ten and
probably more years ago, (before 1994). Colors are very dull
compared to the bright colors of the originals.
17 29/32” x 11 61/64”

After BG-287-PP-3 add
BG-287-RP-4 In 2013 the current copyright holder, Wolfgang's
Vault, reprinted this poster with a Wolfgang's Vault credit in the
lower right corner. 30 3/8" x 23 3/4"

Under BG-288 add:
BG-288-RP-3 In 2008 the new
owner of the Bill Graham Presents copyrights,
Wolfgang's Vault, reprinted four numbered
Fillmore posters. All bear the credit
"Wolfgang's Vault" in the lower right corner. 20 13/32" x 30
15/16"
BG-288-PROG-A In 2004 Jacaeber Kastor showed me a program for
this show. It is printed
on newsprint, and
it has the image of the poster in monochromic black with
a red border on the cover. It is 11 sheets long printed on both
sides of each
sheet for a total of 22 printed pages. It measures 8 1/2” x 11.”

BG-289-RP-3In
late
2006 the new owner of the Bill Graham Presents copyrights,

Wolfgang’s Vault, reprinted four of the
numbered Fillmore/Fillmore West

posters. Each was printed in two different
sizes. All bear the credit “Wolfgang’s Vault” in the lower right
corner. This is the smaller version on uncoatedindex stock. Both of the 2006 reprint BG-289 posters have
the lower left edge as does BG-289-RP-2. 16 17/32” x 22 25/64”

Under BG-289 add:
BG-289-RPC-A In 2004 the new copyright holder who recently had
purchased all the Bill Graham Presents copyrights began reprinting
selected items. Among the first items printed at this time was a
postcard of this image. A Wolfgangs Vault logo appears on the
reverse.
4 1/4” x 6”

Change "Was" to "Wes."

"Batman" essay

After the Batman essay add:

"** In 1997 while researching whether or not a specific poster was
a badly damaged original or a forgery, I spoke at length with two
well- known experts in the field of paper conservation. One told
me and the other confirmed that a 20" long piece of paper of the
type used for the original Batman poster could shrink as much as
1/8" under natural conditions such as being tacked to a telephone
pole or wall or taped to an indoor wall in a house over a long
period of time. This means that since the image occupies almost
the entire length of the paper, it also would shrink
proportionally and may be as small as 18 9/16." It is possible it
might even expand slightly. Specific known copies of varying
dimensions exist, and they are known to be genuine. In the event
that there is any question about the legitimacy of a specific copy
of this poster, it might be best to write me directly at the
address listed on page 7, so that it may be compared to several
genuine copies available to me."

"In 1997 it was learned that there were no tickets for these
concerts in the Bill Graham Presents archives because they were
distributed with the closing Fillmore album.
Th 17, Su 20
Fr 18
Sa 19 Blue, Red Silver (PC)"

Under Bill Graham Tickets under BG-285 add:

Th 17, Su 20 - one ticket: red, blue, silver, rust,
white

Under Bill Graham tickets BG-285 add

Fr 18: blue, red, silver, black

After BG-289-RP-2 add

BG-289-RP-3In
late
2006 the new owner of the Bill Graham Presents copyrights,

Wolfgang’s Vault, reprinted four of the
numbered Fillmore/Fillmore West

posters. Each was printed in two different
sizes. All bear the credit “Wolfgang’s Vault” in the lower right
corner. This is the smaller version on uncoatedindexstock. Both of the 2006 reprint BG-289 posters have
the lower left edge as does BG-289-RP-2. 16 17/32” x 22 25/64”

Since the BG-287 image was created shortly after the concerts,
neither image tickets nor postcards of this image
exist. That is why backstamped tickets were used. It is likely
that both black and red backstamps exist of all the
BG-287 tickets. It also is likely that all the variants of the
fronts of the specific tickets (all the different days) were used,
that is, if a BG-117 ticket was used for Sunday July 4, it is
likely that all the variants of BG-117 were used, not just one
specific day.

Under Bill Graham Presents Tickets change BG-289 to read BG-289
this ticket was not an image ticket.

Russ Gibb/Grande Ballroom

Add the following at the end of the Grande Ballroom introduction

"In 2000 a new plague appeared to make life difficult
for collectors of Grande Ballroom material. Someone began printing
pirate reprints of newspaper ads for Grande concerts. These images
bear considerable resemblance to those of legitimate Grande cards
and posters, but usually the images are different in some way.
What this means is that if you
find a "new" variant not listed in this book, especially if it is
on thin paper and 8 1/2" x 11" or larger, it is more likely than
not that the item is a pirate. While it is still possible new
original material will turn up even after thirty years, it is not
likely. Since these items are being sold very cheaply, the best
thing to do is acquire a copy and send it to me for study so that
I can make note of it in my Guide. I will pay for the postage both
ways when I return it to you. In this way other collectors can be
made aware of each of these pirates as it appears. I will include
a note about each pirate under the genuine use of the image."

Under G/G-661007-RP-2 change "400" to "325."

Under G/G-661007 after G/G-661007-RP-2 add

G/G-661007-RP-3 The third
printing is a mechanically printed edition. It
is much closer in size to the original than the second, but
the stock is .0125” thick which is much thinner than the original.
The notations “c 1966, 1993, 2003 GARY
GRIMSHAW” and “Third edition under license to Levi’s R Vintage
Clothing” appear in the bottom margin at the left. The artist also
signed and numbered a limited number of
copies (297) of this edition. 14 1/64” x 19 31/64”

Under G/G-661007 add:
G/G-661007-PHB-B In 2013 a person who was a seller at
Detroit area record shows began selling an oversized postcard
version of this image based on the black and white only handbill.
5 11/64"
x 7 13/16"

Under G/G-661021 change the text to read:
G/G-661021-OP-1 This poster was
printed only once. No card or handbill is known to exist for
this concert. The image is based on the same photograph as
Mouse and Kelley used
for FD-28. This photograph is not, as was previously
thought, of a man photographed behind venetian blinds. Please see
notes under FD-28. 17 5/8” x 22 1/2”

In 1998 a handbill for the weekend between G/G-661104
and G/G-661118 was discovered. This handbill was printed
only once. No poster is known to exist for this
event.

Under G/G-661118 change handbills to read:
G/G-661118-OHB-A This handbill was printed only once, but it
was printed on at least two different paper stocks. This item is on
thick, coarse off white stock. No poster or card is
known to exist for this event. 8 17/32" x 14 7/64"
G/G-661118-OHB-B This item is on thick, coarse light gray
stock.

Under G/G-661209 change the text to read:
G/G-661209-OHB-A This handbill was printed legitimately only
once. No poster or card is known to exist for this event. The stock
on which this handbill is printed does not fluoresce under
black
light. 8 33/64" x 1033/64"
G/G-661209-PHB-B In 2013 it was learned that the same
pirate who who created bootlegs of several other Grande handbills
around 1990 also forged this one, not once but twice. In this case
his copies
are much more difficult to distinguish than are his other ones. The
first one is on stock which fluoresces bright white under black
light. This stock is semi gloss,
and very
little detail is lost from the genuine item. 8 17/32" x 10 31/32"
G/G-661209-PHB-C The second forgery, apparently by the same
pirate, is on stock which is matte. This stock fluoresces bluish
gray under black light. Slightly more detail is lost than on
G/G-661209-PHB-B. 8 1/2" x 10 31/32"

Under G/G-670129 add:
In 2006 a copy of what appears to be a handbill of this image was
discovered. It was printed by a photocopy machine or a computer
printer, not by offset lithography as would have been the case if it
was an original. The written area on the right side of this item is
very fuzzy and difficult to read, what one would expect of a copy
shot off a poster. On the poster it is quite legible. I would
appreciate any further information about this item.
The best word on this is a direct quote from Gary Grimshaw who
created this image: “There were no Guerilla Lovefare flyers printed
at the time, only the newsprint ad, because a big publicity-stunt
"dope raid" was staged by the Detroit police right after the ad
appeared, everyone was rounded up and the show never happened.
Out of dozens arrested only two were charged, and charges were
dropped the next week, but it made for good headlines for a
day. I don't know anyone who has reprinted the art as a
flyer.”

Under G/G-670317 After G/G-670317-OHB-A Add:

"G/G-670317-FHB-B

In May 1998 a forgery of G/G-670313-OHB-A was
discovered. The forgery of G/G-670317-OHB-A is
sufficiently different in image size to be recognizable as
printed with a different plate than genuine originals, one
made by copying a handbill, not the original artwork. The
vertical measurement along the right margin of the image
of the original is 10 37/64." The same measurement on the
forgery is 10 36/64." Unfortunately this is not a
sufficiently great difference for someone with an ordinary
ruler to discern it reliably, but there is a flaw typical
of such forgeries, the difficulty of depicting long,
narrow white spaces within black areas, ones only a few
thousandths of an inch wide. To the right of the "M" in
"1AM" just inside the inner white border is such a small
white space which looks very much like a knife viewed
point on. On the forgery this is about 1/4" long. On
genuine originals this is about 5/16" long or a bit
longer. The camera used by the forger simply was not able
to capture the information of the narrowest 1/16" of this
white space and turned it black."

After G/G-670330-OP-1 add:
G/G-670330-OP-2 Many copies of
this poster had the red border on the right cut off by the printer
by mistake. These are a legitimate variant.

Under G/G-670421 After G/G-670421-PHB-B Add:

"G/G-670421-FHB-C

In May 1998 a forgery of G/G-670421-OHB-A was
discovered. The vertical measurement of the highest point
of the image near the left margin is 10 3/16" on the
forgery. On the genuine original this distance is less
than 10 1/8." Also the lettering in the bottom margin "A
RUSS GIBB PRODUCTION" and "POSTER BY GRIMSHAW" is much
muddier. For example, the top loops of the second "B" in
"GIBB," the "R" in "PRODUCTION," the "P" in "POSTER" and
the "'B" in "BY" are filled in, solid black, on this
forgery whereas on the genuine originals these loops have
small white spaces in them.

Under G/G-670423 change G/G-670423-OHB-A to read:

"This handbill was printed only once, but two variants exist. This
item is printed on yellow stock. No poster or card is known to
exist for this event."

Add:

"G/G-670423-OHB-B

This item is identical to G/G-670423-OHB-A except it is
printed on pale red/pink stock."

Under G/G-670609 add (31) under the designation G/G-670609.

Under G/G-670609 under acts add "Eccentric"

Under G/G-670609 add
G/G-670609-PHB-C Another version of
the same pirate exists on tan paper. 8 33/64” x 11”
G/G-670609-OHB-D In 2014 I discovered why
Henkel (see OHB-A) described the stock of this handbill as cream
colored. There actually is a version of the original handbill on
cream
colored stock separate from the pale yellow version.

Under G/G-670616-PHB-B change the entry to read “…white or very
pale gray paper.”

Under G/G-670623-OHB-A change the entry to read

“This
handbill was printed in black ink on pale blue paper. The
black strip across the top extends to the edge of the paper…”

Under G/G-670623-PHB-B Add

“The black strip across the top of the paper does not
extend to the
edge of the
paper. The edge of the paper is pale gray/lavender.”

Under G/G-670623 add

G/G-670623-PHB-C Another version of the pirate exists on light
blue paper. The black strip across the top does not extend to the
edge of the paper. The edge of the paper is light blue.

Under G/G-670630 change "Grande Ballroom" to "Ford Auditorium."

Under G/G-670630-OHB-A change:

"The handbill" to "This handbill" all three times it appears and
after "once." add ", but there are two variants."

After "G/G-670630-OHB-A" Add:

"G/G-670630-OHB-B

The second handbill matches the poster with 'Jefferson
Airplane' in blue, etc."

Under G/G-670714-PHB-B add “shades of” before “pale
blue.”

Under G/G-670728 add:G/G-670728-PP-1 In 2013 someone created a
pirate poster of this image. It has tinges of light green
not on the original handbill. 12 7/8" x 18 55/64"

After G/G-670728-OHB-A add:G/G-670728-RPC-B Around 2000 someone in
the Michigan area reprinted this image as a postcard on
glossy stock. "Canon" and "DIRECT PRINT" appear on the back. 3 15/16" x 5 53/64"

Under G/G-670811-OHB-A Change to read "No original poster is known
to exist..."

After G/G-670811 add
G/G-670811A Grande Ballroom
8/11&12/67
Same as G/G-670811
Carl Lundgren
G/G-670811A-RP-1 In 2007 Carl Lundgren, one of
the original Detroit psychedelic poster artists, created a poster
with this image as a commemorative of this event.
12 61/64" x 18 31/32"

Under G/G/670825 add:

G/G-670825-OHB-C
In 2003 I concluded that this handbill also was distributed
with the outer border crudely trimmed off with a
scissors. I have now seen eight copies of this handbill.
Four of these had the outer border trimmed in this manner.
Two of these belonged to people who had gotten the handbill at
the time of the event and told me they had not trimmed it
themselves. The four trimmed copies came from different sources.
6 3/8” x 9 7/8”

Change G/G-670827A-OHB-A to read:
G/G670827AOHBA In the early 1990s before I
added the Grande/Gibb material to this
this Guide, someone sent me a photocopy of
this image and told me
it was a Grande handbill. In 2012 I
discovered that this is incorrect.
This is an ad which appeared in “The Fifth
Estate” Vol. 2 No. 10 (36)
Aug. 15-31, 1967. “The Fifth Estate” was a
local Detroit area under-
ground newspaper in the late 1960s. While
there are numerous ads
which appeared for the Grande Ballroom in
local Detroit underground
newspapers, and some of them are
artistically interesting and histor-
ically important, it is not the place of
this Guide to list them. This
image appears here
to clarify the facts about this image which
appeared in earlier editions of this Guide
incorrectly identified as a
handbill.

<>Under G/G-670827B add
G/G-670827B-OHB-C In 2005 a third variant of this
handbill was discovered. It was printed on
stock even more coarse than G/G-670827B-OHB-B, stock similar
to the
stock of brown paper bags only somewhat lighter in color. This
variant
was printed in the same brown ink
as G/G-670827B-OHB-A. This variant
also has an ad for The Sun, a local Detroit area underground
newspaper
published by Gary Grimshaw and John Sinclair, on the back.
8 33/64” x 11 1/64”

Under "G/G-671027-OPC-C" after "black" add "the same as
G/G-671110-OPC-C"

After "G/G-671027-OPC-C" add:

"G/G-671027-OPC-D

This card has a 'Grande Ballroom' imprint reverse but no
'Place stamp here' square the same as G/G-671103-OPC-B.

G/G-671027-OPC-E

This card has a 'Grande Ballroom' imprint reverse but no
'Place stamp here' square, but it is different from
G/G-671103-OPC-B."

Under G/G-671029 add
G/G-671029-RP-1 In 2005 Carl Lundgren issued a signed
and numbered limited edition poster of this image. 25 11/64" x 16
3/4
Delete "No poster is known to exist for this event."After G/G-671029-RPC-C add:G/G-671029-PHB-D In 2012
a pirate handbill of this image was discovered. It is almost
twice the size of the original card. It was
very poorly printed on coarse,
brown paper similar to paper bag paper. Much
detail from the original
was lost. The edges appear to have been
perforated, so presumably it
was torn from a larger sheet. The artist who
created the image, Carl
Lundgren, specifically said it did not date from
the time of the
concert. 9 61/64” x 5 29/32”

After G/G-671029-PHB-D add:
G/G-671029-PHB-E In 2013 someone who was a seller at
Detroit area record shows began distributing a pirate version
of this postcard. The distance from the left line border to
the right line
border on
the original is 6 5/8." On the bootleg version this distance
is 6 9/16." 6 57/64" x 3 49/64"

Under G/G-671103 add: "Irving Penn (Photographer)"

Under G/G-671110 add: "Victor Skrebneski
(Photographer)"change "Skrebnewski" to "Skrebneski."
Under G/G-671110 add
G/G-671110-RP-3 In 2006 the artist, Carl
Lundgren, authorized a second reprint of this image which is
also signed and numbered. It also has a white border not
on the
original. The “R” to “N” distance on this version is 12
1/4”. 17 1/32” x 27 5/32”

Change G/G-671126-OHB-A to read:

One original of this handbill is in red ink on
white paper.

After G/G-671126-PHB-B add:

G/G-671126-OHB-C In 1998 another original version
of this handbill was discovered. This one is in pale purple ink
on pale yellow stock.
G/G-671126-OHB-D In 2005 another original version of this
handbill was discovered. This one is in red ink on pale blue
stock.

Under G/G-671208 artist is "Gary Grimshaw."

Under G/G-671208 add "Wilson Mower Pursuit" under
the list of acts.

Under G/G-671208 before G/G-670812-OPC-A add:

"In 1999a member of Wilson Mower Pursuit told me
his band had played at this concert without being listed on the
bill."

Under G/G-671208 change OPC-B and OPC-C to read
G/G-671208-OPC-B This card has a light
blue "Grande Ballroom" and "Place stamp here"
imprint reverse which identically matches the #9 back in the
Grande
backprints section.
G/G-671208-OPC-C This card has a light
blue "Grande Ballroom" and "Place stamp here" im-
print reverse which is slightly different from the #9 back. See the
last
page of the Grande backprints section for details.

Under G/G-671226 add:
In 2005 Carl Lundgren issued a signed and numbered limited edition
poster of this image. A wide white border distinguishes it from the
original poster. If the white border was cut off in an attempt to
create a
fraudulent “original,” it would be at least 3/16” under 13 3/16”
wide or
it would have some remnant of the white border.
17 9/64” x 27 25/32”

Under G/G-680112 add:
G/G-680112-RP-1 In 2007 Carl Lundgren issued a signed and numbered
poster of this image.

Under G/G-680126 add:
G/G-680126-RP-1 In 2005 Carl Lundgren published a signed and
numbered limited edition
poster of
this image

After G/G-680223A-OPC-C add:
G/G-680223A-PPC-D In 2012 a pirate printing
postcard of this image appeared on ebay. The
reverse bears the credit “Printed in the
E.E.C.” This refers to the
European Economic Community.
G/G-680223A-PPC-E In 2012 another pirate printing
postcard of this image appeared on ebay
a week after G/G-680223A-PPC-D sold. The reverse
of this item bears
the credit “Printed in England.” The seller of
this item said he thought
it dated from the 1980s.

Under G/G-680303 add:
G/G-680308-RP-1 No poster was
originally printed of this image at the time of the concerts.
In
2007 Gary Grimshaw issued a poster of this image. The notation
“Second Edition c 1968, 2007 Gary Grimshaw” appears in the
bottom
margin. The postcard was the first edition. 10 63/64” x
19”
Under G/G-680303-OPC-A delete "No poster is known to exist for this
event."

3/22&23/68
Eric Burdon and the Animals
Grateful Dead
Gary Grimshaw Aere
Apparent
Apostles
Jagged Edge
G/G-680322A-PHB-A Sometime not long before 1992 a
pirate handbill was printed based on
a newspaper ad for this event. It was created by
Gary Grimshaw as
were a lot of the Russ Gibb related newspaper
ads. It is black and red
on a white background. 17” x 11
1/64”

Under G/G-680417 add
G/G-680417-PP-1 In 2013 a
pirate/bootleg of this image was done as a small size poster. It
was printed
on glossy stock. Since it was based on a postcard, the image
became
somewhat fuzzy. The bootlegger decided to “improve” on Gary’s
original
artwork by making the word “Cream” yellow. A white border
was added.
13" x 31/32”

After G/G-680511-RP-2 add
G/G-680511A
Cobo Hall
5/11/68
Same as G/G-680511
Carl Lundgren
G/G-680511A-RP-1 In 2007 Carl Lundgren, one
of the original Detroit psychedelic poster artists, created a poster
with this image as a commemorative of this event.
17
3/64" x 23 57/64"

Under G/G-680607 add
G/G-680607-RP-2 In 2005 Gary Grimshaw authorized a reprint of
this poster on glossy stock very different from the porous stock of
the original.
10 33/64" x 17 3/8"
G/G-680607-RPC-C In 2005 Gary Grimshaw authorized a reprint of
this postcard on glossy stock very different from the porous stock
of the original.
Both the reprint postcard and the
reprint poster were copied from an original poster and match the
original poster. 3 39/64" x 5 29/64"

After G/G-680607 add
G/G-680607A
Grande Ballroom
6/7-9/68
Same as G/G-680607

Carl Lundgren
G/G-680607A-RP-1 In 2007 Carl
Lundgren, one of the original Detroit psychedelic poster artists,
created this image as a commemorative of this event. 12 29/32" x 18
29/32"

Under G/G-680614 add:
G/G-680614-PP-1 In 2013 a pirate/bootleg of this poster
was printed in poster size on very thin, glossy stock. Since the
source was a postcard and the size of the poster is fairly large, a
great
deal of detail is lost,
and the image is very fuzzy looking. The pirate chose to add insult
to injury by not only bootlegging this poster but adding his own
copyright notice,
"c Uneedyt" in the bottom left
margin. The actual copyright holder for this image is the artist who
created it, Gary Grimshaw. 23 31/32" x 35 27/32"

Under G/G-680711 add
G/G-680711-RP-1 In 2004 Carl
Lundgren published a hand pulled silkscreen of this image. It was
a
limited
edition
of
200
which
was
signed
and
numbered.
No
original
printing
of
this
image exists as a poster. 18” x 29 1/32”

Under G/G-680726 add:
G/G-680726-RP-1 In 2005 Carl Lundgren
issued a signed and numbered limited edition poster
of this image. 16 47/64” x 24 13/64”
Delete, "No poster is known to
exist for this image."

Under G/G-680802 change (90) to (96)

Under G/G-680802 add:
In 2005 Carl Lundgren published a signed and numbered limited
edition
poster of
this image

Under G/G-680809 add:
In 2005 Carl Lundgren published a signed and numbered limited
edition
poster of
this image.

Change the text of G/G-680816 to read:
G/G-681029-RP-1 In 2004 Carl
Lundgren published a poster of this image.
It was a limited edition of 100 which was signed and num-
bered. No
original printing poster exists for this image.
16 25/32” x 27 7/64”

G/G-680816-OPC-A This card has a blank reverse. It
does not have the printer's bull's-eye mentioned under
G/G-680816-OPC-F

G/G-680816-OPC-B This item has a "Grande
Ballroom" and a "Place Stamp Here" imprint reverse. It does
not have the printer's bull's-eye mentioned under
G/G-680816-OPC-F.

G/G-680816-OPC-C This item has a "Grande
Ballroom" and a "Bulk Mail Permit No. 642" imprint reverse. It
does not have the printer's bull's-eye.

G/G-680816-OPC-D Some copies of
G/G-680816-OPC-C were mechanically addressed and sent to
people on the mailing list.

G/G-680816-RPC-E In 1994 Pomegranate Artbooks
reprinted this card with a Pomegranate imprint reverse. It
does not have the printer's bull's-eye.

G/G-680816-OPC-F This card has a blank reverse.
At the right end of the ticket outlets strip at the bottom of
the card is a small black circle with cross hairs through it .
This is known as a printer's bull's-eye. It is used to align
thepress. Usually they are on parts of the paper which are
trimmed off before an item is distributed, but in this case it
accidentally was placed in the image and could not be removed.
These cards were printed two to a sheet so it may be assumed
that half of each variant has the printer's bull's-eye.

G/G-680816-OPC-G This item is the same as
G/G-680816-OPC-B except with the bull's-eye.

G/G-680816-OPC-H This item is the same as
G/G-680816-OPC-C except with the bull's-eye.

G/G-680816-OPC-I This item is the same as
G/G-680816-OPC-D except with the bull's eye.

Under G/G-680823 add:
G-G-680823-RP-1 In 2007 Carl Lundgren issued a signed and numbered
poster of this image.

Under G/G-680901 add
G/G-680901-RP-1 In 2004 Carl Lundgren
published a poster of this image. It
was a
limited edition of 100 which was signed and numbered.
No original printing of this image exists as a poster.
14 53/64” x 24”

Under G/G-680906 change artist from “Morton” to “Chris Morton.

Under G/G-680913 artist add "Carl Lundgren."

Under G/G-680920 artist delete "Carl Lundgren."

<>Under G/G-680927 add
G/G-680927-RP-1 In 2005 Carl Lundgren
issued a signed and numbered limited edition poster
of this image. 17 5/64” x 25 37/64”
delete "No poster is known to exist for
this image."

Under G/G-681004 artist add "Donnie Dope."
Under G/G-681004 add
G/G-681004-RP-1 In 2005 Carl
Lundgren issued a signed and numbered limited edition poster
of this image. 17 5/64” x 27 13/32”
delete "No poster is known
to exist for this image."

Under G/G-681015 artist add "Donnie Dope."
Under G/G-681015 add:
In 2005 Carl Lundgren published a signed and numbered limited
edition
poster of
this image

Under G/G-681029 add:
G/G-681029-RP-1 In 2004 Carl Lundgren
published a poster of this image.
It was a limited edition of 100 which was signed and num-
bered. No original printing poster exists for this
image.
17 5/32” x 27 19/64”
Under G/G-681029-OPC-B delete "No poster is known to exist for
this event."

Under G/G-681030 add
G/G-681030-PP-3 In 2005 a British company listed as
“NME” reproduced a number of posters from the psychedelic era,
this one among them. They used the six
star version as a
source. The poster was printed with a black outer border not
present on the original or the reprint. The image is off center to
the left. "NME PRESENTS VINTAGE ROCK AND ROLL
POSTERS" appears in the lower right corner. A version of the
guitar neck/dove
Woodstock poster appears on the reverse.
c. 9 11/16" x 11 7/8"
G/G-681030-PP-4 In 2006 it was discovered that in the
mid 1970s a company named “CIRCUS” or something close to that
published a book containing a number of psychedelic poster images.
These were perforated along
one side so they could be removed easily from the book. This image
is one
of the images
that was in this book. It is based on the six star version. The
number “51,” the page number, appears in the lower right corner. A
brown tone head and body profile appears on the reverse with the
number “52” in the lower right corner. 10 1/64” x 14 27/32”
G/G-681030-PP-5 In 2013 someone selling on ebay
offered a digitally printed pirate of this item based on the six
star image. Viewed under magnification the tiny dots of digital
printing are
visible. It is on glossy
stock. The left and right borders are much wider than the top and
bottom borders. 11 11/16" x 16 37/64"

In 2007 Hal Leonard published a book entitled Road Work: Rock
& Roll Turned Inside Out by Tom Wright. Wright was a long
time denizen of the Detroit rock scene and a major photographer
of the Grande era. He worked for Russ Gibb among others and was
there at the Grande in its late 1960s heyday. Anyone seriously
interested in the Grande ought to read this book.

In the text Wright mentions a concert Russ Gibb put on with the
Jimi Hendrix Experience at Cobo Hall. Two different online
chronologies of Jimi Hendrix Experience concerts show two
appearances by the Jimi Hendrix Experience at Cobo Hall:
Saturday November 30, 1968 and Friday May 2 1969.

In all the years I have researched the history of art for Russ
Gibb and/or the Grande Ballroom, I had never encountered anyone
who mentioned that either of these concerts was promoted by Russ
Gibb, and I have never included any material from them in this
Guide, but since Wright clearly was one of those at the heart of
the Detroit scene, I could not discount this reference without
further research. Accordingly I called Russ Gibb who has been
most gracious and generous in making himself available to me for
interviews and scholarly research. Russ told me clearly and
specifically that he was not in any way involved with the
promotion of either of these two concerts. He believed that
Wright simply hadmixed up the Cobo
Hall concerts with the Masonic Auditorium concert by the Jimi
Hendrix Experience (2/28/68) and the CNE Coliseum Toronto
concert by the Jimi Hendrix Experience the next night (2/24/68)
which he, Russ Gibb, did promote.

This is in no way intended as a criticism of Wright’s excellent
book, just as clarification that collectors of Grande/Gibb
material do not have to add material from either of these two
concerts to their collections.

G/G-681121-RP-1 In 2001 Carl Lundgren published a hand
pulled silkscreen of this image. It was a limited edition of 300
which was signed and numbered. No original printing of
this image exists
as a poster. 17 23/32" x 29 63/64"

Under G/G-681121 add
G/G-681121-OPC-E In 2010 it was discovered that a small
number (somewhere between several dozen and a hundred) of these
cards have a small (1/8” to 1/4”) green dot located a bit to
the left of the “J” in
“Jefferson.” This dot is the result of a drop of green ink which got
on the printing plate accidentally and moved on the plate slightly
before being
depleted.

After G/G-681122-OPC-A add:
G/G-681122-PP-1 In 2013 a pirate/bootlegger
printed a poster size version of this image. and sold it on ebay.
Since it was blown up from an original postcard, a lot of detail
became fuzzy.
The stock
used was glossy on the printed side. On the reverse the stock
bears a “DUPONT” “Commercial Gloss…” credit. The white
part of the image on the original card
is off white on the pirate poster, and there is a white border
outside the image. 12 63/64” x 18 61/64”

After G/G-690110-OPC-A add
G/G-690110-OPC-B One copy of this card has a "Bulk Mail Permit
No. 642" reverse.

Under G/G-690124A after G/G-690124A-OPC-A add:

"G/G-690124A-OPC-B

This card has a "Grande Ballroom" and a "Bulk Mail
Permit #642" imprint reverse."

After G/G-690308 add

G/G-690308A

Union Ballroom

3/8/69

Procul Harum
Teagarden & Vanwinkle

Unknown

G/G-690308A-OHB-A This handbill was printed only once.
It is for the same event as G/G-690308. There are two variants.
This variant is in black ink on pale yellow
paper. 5 1/2" x 8 17/32"

G/G-690308A-OHB-B This variant is in black ink on rose colored
paper.

After G/G-690308 add

G/G-690328

Olympia Stadium

3/28/69

Doors
Frost
Sky

Linz

G/G-690328-PHB-A There was no original poster, postcard
or handbill for this event as far as is currently known. In 2000 a
pirate printed this handbill using a 1969 newspaper ad as a
source. This copy was in black ink on thin pink stock. The
notation "A Russ Gibb Production" appears at the lower right. 17"
x 11 1/32"

In 1998 Matthew Radofsky, who created the original
artwork for a number of other Grande posters, handbills
and posteards gave me a photocopy of this handbill which I
had not known about when I wrote the Grande portion of
this Guide in 1996. It was printed only once in a
press run of about 500. Mr. Radofsky indicated that no
posters were printed for this event.

Under G/G-690509 add
G/G-690509-RP-2 In 2003 The artist who created
this poster, Carl Lundgren
published a silkscreen limited
edition of this image.
17 63/64” x 28 63/64”

After G/G-690509-RP-2 add:
G/G-690509-RP-3 In 2006 Carl Lundgren published another
printing of this poster. "1969/2006 by Carl Lundgren" was added in
the lower right margin. 12 63/64" x 19"

Under G/G-690509-OPC-A delete "No poster is known for this
event."

Under G/G-690509 after G/G-690509-RPC-B add:

"G/G-690509-PP-1

In 1997 a mid 1990's European pirate poster of this
image was discovered. Colors used were lavender, blue,
green, orange and purple along with gray and black. "Joe
Cocker" was deleted and "The Byrds" was added. "Janis
Joplin" was added in a balloon at center left, and "Frank
Zappa" was added in a balloon at center right. It is
important to note there was no poster original of this
image."

Under G/G-690516 under acts add "Cartoone" on all dates.

After G/G-690516-OPC-C add

G/G-690516-OPC-D This card has a blank reverse.

Under G/G-690530 change the cards to read:
G/G-690530-OPC-A This card size item was
printed only once. There is a
great deal of variation in the colors of this
card. There
are
at least three variants to this card. This version has
no black
imprint at all.
G/G-690530-OPC-B Some copies of
G/G-690530-OPC-A were mechanically
addressed and sent to people on the mailing list.
These
did not have a bulk mail permit reverse. These
cards
were blank backed. A postage meter was used.
G/G-690530-OPC-C This variant has fine black
lines dividing the rainbow
colors around the 1/4” wide border, but it does
not
have
fine black lines around the lettering or the elements
of the drawings in the image. This is the most
common
version. 5 11/64” x 7 1/64”
G/G-690530-OPC-D This variant has the fine
black lines in the border, but
it also
has fine black lines around the lettering and the
elements of the drawing in the image.

After G/G-690530 add:

G/G-690709

Grande Ballroom

7/9&11/69

Pentangle
Savage Grace
Skye
Billy Tyler
David & Roselyn

Unknown

G/G-690709-OHB-A This handbill was printed only once.

Between G/G-690806-OP-3 and G/G-690806-OPC-A insert:

"G/G-690806-OP-4 This version of the poster is on gray stock."

Under G/G 690820 change artist's name from "Duffen" to "Duffer."

After G/G-690824 add

G/G-690831-OP-1 In 2001 a poster was discovered
for this event. It was printed only once, but there are two
versions. This one is black and blue inks
on yellow stock. 11 1/32” x 17 3/64”
G/G-690831-OP-2 This version of this poster is black
and red inks on yellow stock. c. 11” x 17”

G/G-690831-OP-1 In 2001 a poster was discovered for this event.
It was printed only once. c. 11" x 17"

After G/G-690831 add
G/G/690831A
Benedictine Stadium

8/31/69
Same as G/G-690831

Unknown

G/G-690831A-OHB-A In 2003 a handbill was discovered for this
event. It was
printed only once. 8 1/2” x 10
15/16”

After 690831A add:
G/G-690912
Grande Ballroom
9/12&13/69
Turtles, T-Rex, Thomas Blood
Carl Lundgren, Jerry Younkins
G/G-690912-RP-1 There were no
posters, postcards or handbills created to promote these Russ Gibb
concerts at the time of the event. In 2008 Carl Lundgren, one of
the original
Detroit psychedelic poster
artists, used a collage by Jerry Younkins, also one of the
original artists who collabotated on Detroit psychedelic posters
in the 1960s,
to create a poster with
this image as a commemorative of this event. 17 1/32" x 23 25/32"

After G/G-691002 add

G/G-691013

Grande Ballroom

10/13/69

Allen Ginsberg
Stooges

Al Shamie

G/G-691013-OP-1 This number reserved for future use.

G/G-691013-OHB-A This handbill was printed only once. There have
been reports that there also is a poster for this event.

Under G/G-691013 delete the entry "G/G-691013-OP-1 and under
G/G-691013-OHB-A delete

"There have been reports that there also is a poster for this
event."

After G/G-691013 add

G/G-691013A

Grande Ballroom

10/13/69

Allen Ginsberg
Up
Stooges

J & S Stoddard

G/G-691013A This poster was printed only once. c. 16" x 21"

After G/G-691031-OPC-B add

G/G-691031-PHB-C This image has two pirate handbills
which were created in
2000 from underground newspaper ads. The image is the same,
but the colors have been changed. They are no longer the
polychrome of the poster and the card , but they are now a
monochromic black on orange paper. This
parallels the newspaper ad from which the pirate was made. There
was no original handbill which was mono-chromic black on orange
paper. The pirate handbills
come in two sizes. Both are on thin stock. This one has an orange
border all around the image. It measures 8 33/64" x 11"

G/G-691031-PHB-D This pirate handbill from a newspaper ad also
is in
black ink on thin orange stock. This one only has an orange
border at the top and bottom. The image extends to the left and
right sides. It measures
10 43/64" x 16 21/32"

After G/G-691031 add:
G/G-691031A
Olympia Stadium (Black Magic Rock & Roll)
10/31/69
Same as G/G-691031 but adding Pink Floyd, Alice Cooper and Bonzo Dog
Band
Carl Lundgren
G/G-691031A-RP-1
In
2008 Carl Lundgren, one of the original Detroit psychedelic poster
artists, created a poster with this image as a commemorative of this
event. He added
several acts to the bill which did not appear at the original event.
17 17/64" x 23 51/64"
Under G/G-691229-OPC-A add: <>"Carl Lundgren who created
G/G-690407B did not work on this design. It is a ripoff of his work.

Change G/G-700124B to read:
G/G700124BOP1
This poster was created for the same event as G/G700124A. The
images are different. 16 3/32” x 21 17/64”
G/G-700124B-RP-2 In 2004 www.idealposters.com in
conjunction with Gary Grimshaw reprinted this poster on slick,
glossy stock. “www.idealposters.com”
appears in the lower
left corner. 12 39/64” x 17 11/64”
G/G-700124B-RHB-A At the same time that G/G-700124B-RP-2 was
printed, a blank backed handbill was printed on the same
stock. 4” x 5 61/64”

Add new listing:

G/G-700124C
Grande Ballroom

1/24/70

Unknown artist
Magdalene Sinclair
(photographer)

G/G-700124C-OP-1

This poster was printed only once. It is for some of the
same events as G/G-700124A and G/G-700124B.

Under G/G-700326 add:
G/G-700326-PHB-B In 2005 the postcard was pirated on
thin, glossy stock. Printing was very poor
with the red bleeding into the lettering. 6” x 9 3/64”
G/G-700326-OHB-C The more common version of this handbill has
all the main lettering from "Cincinnati" at the top to "Gardens" at
the bottom in white drop out. In 2008 a variant
was discovered which only has
the lettering from "Amboy" to "Glass Wall" in white drop out. The
rest is in red.

Under G/G-700613 Cincinnati Summer Pop Festival add:
G/G-700613-OHB-C This handbill is in magenta ink on a white
background.

Under Goose Lake Festival G/G-700809
Change G/G-700809-PP-2 to G/G-700809-PP-4 and G/G-700809-PP-3 to
G/G-700809-PP-5

After G/G-700809-PP-5 add:
G/G-700809-PP-6 In 2011 two separate
additional Goose Lake Festival pirate/bootleg
posters
appeared as one item on ebay. They were described as from the
files of an
out of business Michigan print shop. It turned out they were
not two
versions of one printing. They were an earlier pirate version
which was
used as the basis of a later pirate version. This was obvious
because
tears and abrasions on the first showed up as jagged lines
printed on
the second. Both were printed in black ink only. The first was
printed on
thin white paper. It is best distinguished by measuring the
distance
from the upper left corner of the “G” in “Goose” to the lower
right
corner of the “Y” in “Charity.” On this version the distance is
27
27/32.” 18 1/32” x 23 29/32”
G/G-700809-PP-7 The second 2011
discovery was printed in black ink on off white stock.
On this
pirate/bootleg version the distance described under
G/G-700809-PP-6 is 28 1/32” 18 1/32” x 23 29/32”
Because the
dimensions of these two versions are so close, it is possible
both were
printed by the same print shop.

After G/G-700809-PHB-B add:
G/G-700809-PHB-C In 2011 an ebay seller pirated this handbill. The
new pirate is in black ink
on tan
stock. 8 1/2” x 11”

After G/G-700809-PHB-C add:
G/G-700809-OHB-A-2 In 2014 an ebay seller
offered and sold a handbill with the same image as
G/G-700809-OHB-A. This handbill was one sided and did not
have the map on the back. It was
printed in black ink on much thicker stock, about the thickness of a
poster. This stock also was somewhat
coarse. The provenance of this handbill goes back to a Detroit area
record show in the early 1970s and had been in the possession of the
seller since that time. This item was sold at this record show by
the same person who was selling G/G-701231-PHB-B, another pirate/
bootleg. The artist who created the Goose Lake image stated that he
did not do this black on white version. It obviously is a pirate, a
very
early one, but a pirate none the less. 5 33/32” x 8 1/2”

After G/G-700809-TPC-14 add:
G/G-700809-TPC-15 This chip is brown with canes and hats.
G/G-700809-TPC-16 This chip is pale green/gray with hats and
canes.
After G/G-700809-TPC-16 add
In 2012 someone selling on ebay offered several of G/G-700809-TPC-12
and
G/G-700809-TPC-13 on which a black circle had been drawn with some
kind of marker. Most of these circles were drawn around the inner
circle with the gold Goose Lake imprint. He said he was not sure,
but he had been told that this was how people who attended the show
had had their tickets canceled when they came in the gates. He
acknowledged that it was possible that someone who had had these
chips, which in 2011 were in an original cardboard box in which the
tickets/chips had come, had a child who twenty years after the event
marked them while playing, but since there is some possibility that
this is how the tickets were canceled, I note this here so readers
of this Guide will be aware of this possibility.

After G/G-700809-TPC-16 add:
G/G-700809A
Goose Lake Park Jackson, Michigan
8/9-11/70
Same acts as G/G-700809
Carl Lundgren
G/G-700809A-RP-1 In 2007
Carl Lundren, one of the original Detroit psychedelic poster
artists, created a poster with this image as a commemorative of this
event. 17" x 23 31/32"

After G/G-700809 add

G/G-701002

Grande Ballroom

10-2/70

No performers listed:
Rally for John Sinclair

J & S Stoddard

G/G-701002-OP-1 This poster was printed only once. No handbill or
card is known for this event.
15 57/64" x 20 57/64"

Under G/G-710613A-OHB-A change the backprint to read, "DEAL OF
ALL TIME... ADMITS TWO FOR $1.50"

"This poster also exists without the Grande Ballroom imprint. The
version without the Grande
imprint was sold to benefit the defense of John Sinclair. That
version is not listed in this guide because it is not connected
with the Grande Ballroom."

Under G/G-701231 change text to read:
G/G701231OPCA After considerable study in 2006 I have
been forced to conclude that some
copies of
this handbill are forgeries. Since these have been sold as
originals,
these can
not be called pirates or bootlegs. The original is on white stock.
It
is much
sharper than the forgery, but the best way to distinguish the
forgery
is to
look at the left edge of the top of the castle turret. On
the original the
roof of
the turret has an eave which extends slightly to the left of the
vertical
left wall
of the castle. See the upper illustration. 4 13/64” x 7
13/64”
G/G701231PHBB The forgery
appears on two different stocks. One is white.
The forgery was printed with a
different printing plate than the originsl. It
is less clear than the original,
but the easiest way of distinguishing the forgery
is to look at the left edge of the
roof of the turret. On the forgery this edge is
straight without the roof eave
extending out past the vertical left edge of the
castle wall. See the lower
illustration. 4 9/16” x 7 43/64”
G/G-701231-PHB-C The
forgery also appears on tan
stock.

G/G-720319-OHB-A In 2009 a
copy of this handbill was discovered. It was printed only once.
Someone sent me a photocopy of it. It was printed in black ink on
white paper.
Size is
in the 8 1/2" x 11" range/
The image is a hand drawn picture of Ted Nugent with long hair and
a mustache. The acts are listed below his picture, and "Grande
Ballroom" appears in a large arc at the bottom.
The producer was Don Decker.

After G/G-720413 add:
G-G-720413A
Grande Ballroom
4/13/72
Detroit featuring Mitch Ryder
Shadowfax
Thundercloud
Unknown
Frick
G-G-720413A-OHB-A In 2010 a copy of this additional
handbill for the Grande event on
4/13/1972 was discovered. It described the
Grande as the People’s
Ballroom. This handbill was printed only once
in pink ink on white
stock. 8 1/2” x 11”

Under G/G-671027 STAMP HERE add "8 Black" and "9 Black."

In the bulk mail column after 690124A (72) add "53 Blue."

Neon Rose

Under NR-1 after NR-1-RP-2 add
NR-1-RP-3
In 2009 it was discovered that there was a third printing of this
image. The best estimate is that this variant dates between
NR-1-OP-1 and NR-1-RP-2, but since the
designation NR-1-RP-2 has
long been the variant with the white spot completely blank, this new
variant has to be assigned the designation NR-1-RP-3 despite the odd
chronology. Unlike the
other two variants where the spot is either completely white or
completely blue, on this variant the spot described under NR-1-RP-2
contains
two vertical blue lines
about 1/64” wide and a bit less than a 1/4” long. Also immediately
to the left if the white spot is another, third, vertical blue line,
this one
over the orange background which is about 1/64” wide and 1/2” long.
Small white areas are visible between the right two blue lines and
to the right of the shortest one
which is farthest right.
The artist, Victor Moscoso, and I examined this variant very
carefully and determined that it was not printed with the same plate
as the one used
for NR-1-OP-1 or the same
plate as the one used for NR-1-RP-2. It was printed with an entirely
different plate from either of those. Victor commented that several
of
his early Neon Rose
posters were printed three times, and there is no reason why this
could not have been the case with NR-1. Since there would have been
no reason
to burn a second blue
plate on either of the two previously known printings, it is clear
this is a separate printing, not a vari